Purpose of the lesson: to consolidate knowledge about durations, develop pitch and rhythmic hearing, range child's voice, the ability to sing a melody clearly, to develop correct singing breathing.
Why should a child learn to sing?
For several years now, the vocal club “Nightingale” has existed at the kindergarten No. 275. Children come to me to study at will, regardless of whether they have singing abilities or not. From work experience, I know that by constantly attending a circle, a child gradually masters the ability to clearly intonate a melody, and his ear for music also develops.
An ensemble of the same name appeared on the basis of the vocal circle “Nightingale”. The ensemble performs at regional competitions of children's vocal creativity, at concerts of the folk academic choir of the Palace of Culture named after. S.M.Kirova. The ensemble also took part in the opening of the city exhibition “Dolls are the angels of our soul”, and performed at meetings of the literary and musical club “Candle” in the microdistrict New Crimea. The ensemble's soloists are regular participants in children's parties and the annual traditional festival of performing arts for kindergarten children "April Stars".
Someone may say skeptically: “Why should a child additionally practice singing? He sings in music classes, at holidays... And that’s enough. Why should he still exert himself?” But I, as a music director who has worked in a kindergarten for many years, can answer that singing is good for a child.
Everyone knows that of all types of vocal activities, children prefer singing, since this genre contains textual material, which is the most accessible to children in terms of content. With the help of your voice you can express a lot, talk about a lot. In singing, as in other types of performance, a child can actively demonstrate his attitude towards music. Singing plays an important role in musical and personal development.
No one needs to be convinced that “only in activity (in particular in singing) perception, memory, thinking, imagination, sensations are improved; knowledge is acquired, new needs, interests, emotions arise, abilities develop.”
Singing is health. The effect of singing on physical development children. While singing, a child learns to breathe, or more precisely, to hold and distribute his breath correctly. Breathing is the work of our lungs. Blood circulation improves and ligaments are strengthened. In additional activities (the “Nightingale” circle), I use exercises based on the method of noise breathing exercises by vocal teacher A.S. Strelnikova and her daughter A.N. Strelnikova, such as “Palms”, “Pogonchiki”, “Ears”, “Small Pendulum”. When performing breathing exercises, the following rules are required:
– think only about inhaling through your nose;
– exhalation leaves after each inhalation independently through the mouth;
– inhalation is extremely active, exhalation is absolutely passive;
– take breaths simultaneously with movements.
Rhythmic breaths performed according to the rules of gymnastics help saturate the body with oxygen, improve metabolic processes and psycho-emotional state, relieve stress, increase immunity and vitality. This gymnastics is useful for people of any age, especially children. With the help of this gymnastics you can achieve success in treating stuttering in children. When working on proper breathing, I use not only ready-made exercises, but also those invented by me and the guys, for example: “The magic letter Sh ” - short breathing exercise (the cat gets angry and raises its paw - take short breaths through the nose and quickly exhale with the letter Sh ). Except this exercise a number of others also for short breathing: “inflating a balloon”, “strong gust of wind”. Exercises have also been developed for long, economical breathing: “the snake crawls and hisses”; “angry geese”, “ balloon with a hole”, “light breeze”. All these breathing exercises are accompanied by simple movements. There are other interesting exercises, such as “horse says hello”, “happy little motor”, “car ride”, etc.
When a child sings, they decide and speech therapy problems. If it is more difficult for a child to place this or that consonant sound in spoken speech, then in singing he may not even notice how easily he sang this sound. As an additional activity, I include various chants in my work, which, through play, influence the production of sound.
Chants or small songs warm up the children's singing apparatus, making it easier to develop vocal skills and intonation pitch hearing. They also create a friendly and favorable atmosphere for work and lift children’s spirits. Children really like the chants: “Jolly Peas”; “Snowball”, “A cheerful dog was walking”, “Let the tongue dance”, “Cunning saucepan”, “Merry little bears” (music by composer E. Poplyanova); “Family of Cucumbers”, “Grasshopper”, “Cat Car” (music by T. Tyutyunnikova); “Rain” (music by T. Borovik).
Are developing musical abilities child: hearing, rhythm, memory, emotional responsiveness to music, sense of harmony. In addition, children receive various information about music, acquire skills and abilities. Singing fulfills the child's musical needs. Singing is the most accessible type of activity: At any time, the child can perform his favorite song at will. Constantly engaging in performing activities, the range of a child's voice gradually increases.
Singing is closely related to general development child and the formation of his personal qualities. Singing develops aesthetic and moral ideas and activates mental capacity. The child learns to interact with peers in an ensemble.
Are developing Creative skills. The child learns to create, fantasize, dance while singing, and feel free not only among peers, but also at performances at various holidays, at concerts for parents, on stage during a competition. The child becomes more confident, bolder, and his strong-willed qualities are developed. And, of course, most importantly, the child feels like an ARTIST!
Here are the few main “FOR” that a child develops, acquires and nurtures in himself during individual singing activity.
SUMMARY DIRECTLY ORGANIZED
VOCAL ACTIVITIES
in the middle group
"Raindrops"
Objectives of the lesson: to promote the consolidation of knowledge about durations, the development of pitch and rhythmic hearing, the range of a child’s voice, the ability to sing a melody clearly, and develop correct singing breathing.
Equipment and materials:
– “rainbow” and “meadow with flowers” decorations,
– large and individual flannelographs;
– pre-prepared aids for filkro (cloud, large and small droplets), – --– wooden sticks, metallophones, rope, twig,
- phonograms.
Lesson objectives:
– teach to perceive vocal works of different nature;
– promote the development of individual creativity;
– promote the formation of emotional responsiveness;
– contribute to the creation atmosphere of joy, significance, passion, success of each member of the circle.
Music supervisor. Hello children! Today we will go on a journey. Want to? (Children's answer). And to make it interesting for us to travel, let’s invite a cheerful, mischievous breeze to go with us.
Once upon a time there lived a cheerful, mischievous breeze. And even though he was still very small, he really wanted to go everywhere and see everything. He circled over the clearing, began to rise higher and suddenly saw the sun - bright, ruddy, gentle. "Oh! - Breeze sighed, - ah, ah - what a beautiful sun! – and reached out to him with all his might. (Children perform the appropriate movements). “Oh, how I want to reach the sun - oh, oh, oh!” But the sun was far away, Veterok was tired, looked around and then noticed many, many small suns, only they were not growing in the sky, but right in the clearing. (Children) Can you guess who they are? That's right, they were white fluffy dandelions. The breeze was glad that they were so close, and let’s play with them, “Ewwww!” “Veterok blew,” and the dandelions scattered in cheerful fluffs. (Children) Let's help the Wind, blow on the dandelions: “Ewwww, fuuuu, fuuuu!”
Then a Horse ran out into the clearing. “Igo-go-go! – the Horse greeted the Wind.” She also wanted to play with Veterok. She ran after him. Her hooves clattered loudly. Like this! (The music director clicks his tongue and invites the children to click too) . Let's play! And the game is called “Horses”.
Music the leader reads a poem:
Our horse
Updates –
On every hoof
Horseshoes.
The horse is running
Or he walks step by step,
On every hoof
The horseshoe is singing.
And this song
The blacksmith hummed
When for a horse
Forged horseshoes.
V. Stepanov
GAME “HORSES” music L. Bannikova
Children jump around the hall, after the end of the music they run away to the “stable” (by the rope,
stretched between two chairs), the “groom” drives the “horses” with a twig and
closes the “stable”.
After playing music. the leader continues:
The horse became hot from running so fast, and it stopped and began to sigh: whoa, whoa. But then the Breeze helped the Horse - he directed his cool streams directly at the Horse (Ewwww), and she cheered up. The horse said goodbye to Veterok and galloped on.
And while the Wind was blowing on the Horse and reaching for the sun, he grew up and became stronger. The breeze was having so much fun, playing so enthusiastically and blowing with all its might that a rain cloud flew in. In this rain cloud lived droplets: small and large. The droplets loved to sing songs.
The big drop sang like this. Music the leader places a “big” drop on the flannelgraph and plays the drop’s song on the piano on the note “E” of the first octave. Let's sing together, guys. Children sing drawn out: “drip-drip.” And the little droplet sang like this. Places a “small” drop on the flannelgraph and sings a song on the note “A” of the first octave . Now let’s sing the little droplet’s song together. Children sing along with the music. leader. Now let’s sing songs together: big, small drops, big, small. Children sing songs of both droplets in turn. Guys, it turned out to be a rain song. Look, I have metallophones ready. Let's play a rain song on the metallophone. Children take metallophones and play the rain song on their instruments. You can call one child to play a song on the piano.
Do you want to post your songs? Children lay out their songs on individual flannel cards. Songs (optional) are performed by music. leader and children. What wonderful songs we made!
Do you and I know a song about rain? ( Children's answer ). Well done! This song is called “Rain”! Let's sing it.
Children perform the song “Rain” by composer Olga Yudakhina.
Music supervisor. Guys, do you hear? It's raining. Let's close our eyes and listen quietly.
The music is “The Rain Is Starting” by T. Gomez from the album “Sounds of Nature for Kids”.
Music supervisor. Guys, now you and I will run and hide in the bus so that the rain doesn’t get us wet. Let's continue our journey on the bus. The children run out into the middle of the hall. There are chairs prepared in advance, standing friend behind a friend, like on a bus. Children sit on them.
The game “Here we are sitting on the bus” (author E. Zheleznova) is played.
Music supervisor. Look, children. (Draws attention to the box with wooden chopsticks). What's that on the bus seat? What an interesting box. (Looks into the box). And there are sticks in it.
While we wait out the rain,
We'll play with sticks!
Music the leader distributes sticks to the children.
GAME “FUNNY STICKS”
| poem | actions performed by children |
| You jump, sticks, Like sunbeams. Jump-jump. Skok-skok. They galloped up To the meadow. Right leg Top top. Left leg Top top. sat on the head They sang a song S. Karataeva |
Tap your knees with two sticks at the same time, celebrating every quarter. Knock with a stick about the stick. Knock with two sticks in turn, marking every eighth. Tapping the knee with a stick V right hand Knock with another stick for every quarter Make “horns” (place sticks on your head and move them). Tap the stick against the stick on each quarter. |
Music supervisor. Finally the rain has stopped! And look, guys, what a rainbow appeared in the sky after the rain! Multicolored! (Draws the children's attention to the rainbow) . And what beautiful flowers bloomed. And what song can you and I sing, where it is sung about a rainbow, and about flowers, and about rain? (Children's answer ). Right! What great fellows you all are! The song “Who Built the Rainbow?”
Music the leader hands out microphones to the children.
Song “Who Built the Rainbow?” composer M. Partskhaladze.
BREATHING EXERCISES
“Light breeze” - inhale through the nose. Exhale long, slow, sparingly through the mouth while pronouncing the syllable “ ugh" Hands raised above head. Simultaneously with exhalation, children make smooth swings with their arms - the wind shakes the branches of the trees.
“The horse says hello” - inhale through the nose, the head makes a slight tilt back. Exhale through the mouth, but through loosely closed lips, pronouncing the sound “ whoa" Simultaneously with the exhalation, the head slowly tilts forward - the horse greets or snorts.
When performing breathing exercises, be sure to follow the singing direction.
Children should sit or stand straight, their shoulders should not slouch, their tummy should be straightened. Hands free.
Be sure to explain to children that when inhaling, the shoulders should be lowered and, under no circumstances, should not rise. Inhale - the tummy is inflated, the ribs are spread apart, the belt is tight.
LITERATURE:
- S. V. Konkevich A Tale of the Breeze // “Musical Palette” magazine No. 4-2004
- I. Kaplunova, I. Novoskoltseva A holiday every day: notes on music classes in secondary and preparatory groups. St. Petersburg: Publishing house “Composer”, – 2009
- K. Tarasova. New programs and methods // “Musical Director” magazine, No. 1-2004.
More lesson notes for kindergarten:
Methodology for examining the speech development of older preschool children
Interaction of preschool educational institutions specialists in correctional and developmental work with preschoolers
Speech therapy session
Singing is one of children's favorite activities. musical activity. Thanks to the verbal text, the song is more accessible to children in content than any other musical genre. Singing in a choir unites children and creates conditions for their musical emotional communication. Expressive performance of songs helps to experience their content most vividly and deeply and evokes an aesthetic attitude towards the surrounding reality. In singing, the entire complex of musical abilities is successfully formed: emotional responsiveness to music, modal sense, musical-auditory perception, sense of rhythm. In addition, children receive various information about music. Singing fulfills the child’s musical needs, because he can perform familiar and favorite songs at will at any time.
Vetlugina N.A. believes that ""singing is one of those types of musical activities, in the process of which an aesthetic attitude to life, to music successfully develops, the child's experiences are enriched, and musical-sensory and, especially, musical-auditory representations of pitch relations are actively formed." 1 .
Singing is closely related to the general development of the child and the formation of his personal qualities. In the process of singing, children's mental abilities are activated. Perceiving music requires attention and observation. A child, listening to music, compares the sounds of its melody and accompaniment, comprehends their expressive meaning, understands the structure of the song, and compares the music with the text.
The impact of singing on the physical development of children is obvious. Singing affects the general condition of the child’s body, causing reactions associated with changes in blood circulation and breathing.
Correctly performed singing organizes the activity of the vocal apparatus, strengthens the vocal cords, and develops a pleasant timbre of the voice. Correct posture affects uniform and more deep breathing. Singing, developing coordination of voice and hearing, improves children's speech. Metlov N.A. in his book “Music for Children” he writes about the main qualities of a child’s voice, that “the vocal apparatus is very fragile, delicate, continuously growing in accordance with the development of the child’s entire body... The vocal cords are thin and short, so the sound of a child’s voice is high and very weak. It is amplified by resonators. There is an upper cephalic resonator (the cavities of the pharynx, mouth and paranasal cavities) and a lower thoracic one (the cavities of the trachea and bronchi)... In children, the thoracic resonator is poorly developed, the head one predominates. Therefore, the voice is not strong, but ringing. Resonators give the sound different colors. When the sound is forced while singing, children develop an unpleasant, unusual low sound." 3 .
The problem of staging the singing voice of a preschool child is one of the most complex and least developed in music pedagogical theory and practice. At the same time, this is one of the most important problems in the practice of musical education of preschoolers.
Its importance is determined by the sensitivity of this age in relation to the development of singing skills, the connection with the child’s health, the importance of vocalization for the development of musical ear, and the influence of singing activity on the formation of the child’s musicality system as a whole.
Based on the research and experience of leading musicians, theorists and practitioners, and making extensive use of the latest achievements in music pedagogy, she has built a system for developing the singing skills of preschool children.
I begin this work with three-year-old children. I pay special attention to sound formation: I teach to sing in a drawn-out, natural, light sound without tension or shouting.
In the middle, senior and preparatory groups, work on singing skills continues.
I conduct more in-depth work in this direction in vocal classes, which are attended by children aged 5-7 years.
My classes are based on the ideas of children's musical education by Carl Orff, Ogorodnov D.E. and Emelyanova V.V.
Conventionally, classes can be divided into 4 sections, which are interconnected and interact with each other:
1. Phonopedic exercises Emelyanova V.V. For proper sound production great importance has a clear functioning of the vocal apparatus (lower jaw, lips, soft palate with a small tongue), therefore, to achieve this goal, at each lesson I conduct a warm-up - articulatory gymnastics according to the system of Emelyanov V.V. (Annex 1). These exercises not only develop the singing voice, but also help protect it and strengthen the child’s health.
Articulation gymnastics includes:
- working with the tongue (bite the tip of the tongue, chew the tongue alternately with the left and right lateral teeth, click the tongue in different positions, stretch out the tongue, roll it into a tube, etc.);
- with lips (bite the lower and upper lips with your teeth, stick out the lower lip, giving your face an offended expression, raise the upper lip, opening your upper teeth, giving your face a smiling expression), facial massage from the roots of the hair to the neck with your own fingers.
Articulation exercises for children are interesting and accessible, because... I spend them in a playful way.
Play is a child’s favorite activity. In the game he asserts himself as a person, his imagination develops. Without noticing it themselves, preschoolers solve complex tasks in the game to develop diction and articulation.
After articulation gymnastics, I use intonation and phonetic exercises that help overcome speech defects and align vowel and consonant sounds. When singing exercises from a series of vowels, in order to align them, one vowel sound should be poured into another smoothly, without a push (uuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuof you of it of you of vowel sound of a vowel). Singing vowels in one order or another serves a specific purpose, depending on what timbre sound you need to tune your voice to. To form the sound of a child’s voice closer to a falsetto sound, the vowel sounds [u], [o], [a] should be used (among which the vowel [u] is most preferable). In practical work with children, the position of the lips in a half-smile is taken as the basis for singing articulation. With this arrangement, the larynx rises, the vocal cords work in a more subtle mode, the voice sounds light and light. The placement of the lips in a half-smile helps to find a close vocal position, which characterizes correct sound production. Particular attention should be paid to loosening the chin. ““Checking”” is carried out by opening the mouth with hands placed on the cheeks (fingers through the cheeks lie on the lower teeth), while the vowel sound [u] is heard.
2. Games with sound are an indispensable condition in our classes. The child must get a completely accurate idea of it. We are talking about the fact that sound has certain properties. You can't touch it, you can only hear it. The sound can be flat, round, high, low, angry, affectionate, gentle. The material for sound can be anything: elementary instruments, threads, balloons, hoops, balls, soap bubbles - in general, everything that the teacher’s imagination suggests. I often play the game "Magic Box"
Children love to pull the string from the box. They see how the thread stretches, and with it the sound. They understand that sound has a beginning and an end. Children pull a string on any vowel sound; you can sing along it from top to bottom and vice versa. The thread is smooth, silky and the sound should also be smooth. If the thread makes wavy movements, then the sound can be wavy, etc.
3. Working with hands – required condition in class. The hands are “responsible” for certain areas of the cerebral cortex. They help to carry out musical activities in a more meaningful, aesthetic, expressive and varied way, which allows you to achieve success even with the weakest children. In my classes I create situations where the child necessarily begins to work with his hands. Hands below - low sound, above - high, hands make jerky movements - sound jerky on staccato , soft hand movements - smooth sound. This technique helps children consciously control the process of sound production. (Picture 1).
In vocal work I use exercises with modal vocal gestures. With the help of gestures, children learn to sing stable steps from any sound. (Figure 2).
In my classes I like to use a technique such as expressive reading of a poem. I work on poems in this way: the group reads a poem under my conducting (as if it were a piece of music). Each child repeats these movements, which offer several options for contrasting images (kind, angry, whiny, joyful, etc.). For classes, I select poems containing a vivid playful image or dialogue.
Beautiful, flexible hand movements, high-quality conducting, active, wide movements, positive emotions– all this has a beneficial effect on the psychological and physical health children.
Finger games are another necessary technique in vocal classes. They develop fine motor skills, are responsible for speech, develop creativity, imagination, and develop expressive speech. Sometimes fast, sometimes measuredly unhurried, sometimes sing-song tempo of rhymed lines fosters smoothness, regularity, rhythm of speech, and develops breathing. (Appendix 2).
4. Singing games are of great importance for consolidating singing skills. The game situation increases children's interest in singing activities, makes the perception and content of the song more conscious.
For the formation of a modal tonal sound, tasks for the development of song creativity “What do you want, kitty” by G. Singer, “Bunny, bunny, where have you been?” are indispensable. etc. I suggest children play musical questions and answers. The question-and-answer form of the exercise or the task of finishing a melody, the beginning of which the teacher sang, helps to activate the inner ear and develop creative initiative.
Fantasy, imagination, and elements of creative expression accompany every game, and the ability to play unaccompanied, accompanied by one’s own singing, makes these games the most valuable musical material. In singing games, children practice singing a cappella . Under the influence of emotions caused by the game, the child tries to accurately convey the melody, text, and, most importantly, the mood that the given song carries. The general enthusiasm in the game, the joy of performance, activate timid, indecisive children. It is important to maintain interest in every child, to help children gain faith in themselves, to free themselves from tension and embarrassment.
Thus, the use of a system of special exercises of various games, individual and group work with children - all this made it possible to achieve positive results in the development of singing skills in older children preschool age. Music has firmly entered into the children's everyday life. They sing in a group, at home for their parents and together with their parents, not only accompanied by an instrument, but also independently without any help.
List of used literature
- Vetlugina N.A. "Methods of musical education in kindergarten", M., "Enlightenment", 1989.
- Emelyanov V.V. "Phonopedic method of voice development", 1999.
- Metlov N.A. "Music for Children", M., "Enlightenment", 1985.
- Orlova T.M., Bekina S.M. ""Teach children to sing. Songs and exercises for voice development in children 5-6 years old"", M., "Enlightenment", 1987.
- Orlova T.M., Bekina S.M. ""Teach children to sing. Songs and exercises for voice development in children 6 - 7 years old "" M., 1988.
- Stulova G.P. "Development of a child's voice in the process of learning to sing", M., Prometheus Publishing House, Moscow State Pedagogical University named after. V.I.Lenin, 1992
(Materials from the experience of a music director)
“If the children sing, the people will sing,” wrote K.D. Ushinsky. Whether children love singing or not largely depends on adults.
Preschool age is the most favorable period for the formation and development of the singing voice. Singing lessons are an important component of the harmonious development of a preschooler. Education of a child’s hearing and voice has positive impact on the formation of speech, and speech, as is known, is the material basis of thinking. Singing helps solve some problems with sound pronunciation. Systematic vocal education also has a beneficial effect on the physical health of children; singing not only gives pleasure to the singer, but also exercises and develops him respiratory system, which affects the state of the cardiovascular system, therefore, by involuntarily doing breathing exercises, the child strengthens his health.
In singing, the entire complex of musical abilities is successfully formed: emotional responsiveness to music, modal sense, musical-auditory perception, sense of rhythm. Singing activates mental abilities, develops aesthetic and moral ideas of children.
In this work, I present the experience of developing singing skills in preschool children in our kindergarten in the period from 2009 (from the second youngest group) to 2013 (before the preparatory school group). During this period, the development of vocal skills of preschool children and the growth of teaching techniques in the formation of children's vocal performance were monitored.
The basis for choosing the direction of work: “Development of singing skills in preschool children” were the results of diagnostics of the development of singing skills using the method of O.P. Radynova at the beginning of 2009 – 2010 school year, where it was revealed that 60% of children 3-4 years old have a low level of development of vocal skills: the majority sang tensely, did not always intonate clearly, entered at the wrong time, and often slowed down the tempo. The results of examination of the same children by other specialists showed that some of the children had problems with sound pronunciation; there were also shy, timid children, with slow speech and weak memory.
The theoretical basis of my work is the developments of N.A. Metlov, D.B. Kabalevsky, N.A. Vetlugina, D.E. Ogorodnov and others.
Studying the nature and development of children's hearing and voice, a prominent Soviet teacher-musician, candidate of pedagogical sciences N.A. Metlov, in his methodology, determines the characteristics of the vocal apparatus, the physiological capabilities of preschool children, their singing skills, the range of voices of children of different age groups, and the requirements for the song repertoire of a kindergarten. At the same time, a practicing musician big role devoted to the vocal technique of the teacher himself, who works with preschoolers: “The song should be heard not only in music classes, but also during games, on walks, and be part of a child’s life. This is possible if the teacher loves songs and knows how to sing.” IN last years the use of complexity and consistency for a deeper emotional and aesthetic impact was clearly reflected in the program developed under the leadership of D. B. Kabalevsky. In it, he emphasizes that the active perception of music is “the basis of musical and aesthetic education in general and all its links in particular. Without active perception of music there cannot be high-quality singing.” This position was taken as a basis in the music education program developed under the leadership of N.A. Vetlugina, which offers a cycle of song-exercises that contribute to the development of the child’s musicality (modal and rhythmic sense, pitch and dynamic hearing).
IN modern practice Vocal exercises by teacher-musician and children's composer E.N. are widely used. Tilicheeva, which help children master basic singing skills, achieve ease and ease of sound in singing, and proper breathing.
Of interest is V. Emelyanov’s technology, which presents a developed system of measures to protect and protect children’s voices. And finally, “Methodology of comprehensive musical and singing education” by D. E. Ogorodnov - treatise, perfectly suited to the spirit of our times. This book can be called a musician's code. The starting points of his methodology involve the use of all internal resources of different aspects of children’s abilities in their interaction, which is greatly facilitated by the system of recording vocal-modal exercises. The recording allows you to clearly and clearly express the child’s actions when performing a vocal exercise and, thus, “algorithm” the process of developing basic vocal skills.
My musical and pedagogical activities in kindergarten are determined by pedagogical idea teach a child to sing well, clearly, distinctly, with love and mood, and most importantly beautifully, with great dedication, which is what we try to implement during the lessons.
The formation of singing skills is one of the most complex and important sections of the musical education of preschool children. When teaching vocals to children, I took into account that the child’s vocal apparatus is fragile, delicate, and continuously grows in accordance with the development of the child’s entire body. Therefore, it is necessary not only to master the method of teaching singing, but also to protect the child’s voice; I have selected vocal techniques that most effectively contributed to the development of the child’s voice. Systematic work allows us to take into account the physiological and vocal characteristics of each child, therefore I consider it a priority in my work to take an individually differentiated approach to the abilities of each child.
The goal of my work was to teach preschool children singing skills.
Based on modern methods and recommendations of famous teachers, we built our own system for developing the singing skills of preschool children. For this purpose, vocal exercises by E. Tilicheeva, N. Vetlugina, M. Kartushina, O. Katser, A. Bitus, exercises for the development of the vocal apparatus according to the system of V. Emelyanov and exercises for the development of melodiousness by D. were systematized and adapted to the level of vocal capabilities of a preschooler. Ogorodnova.
To achieve the goal, tasks were set:
1. “Before” - instilling in children love and interest in singing;
2. “Re” - development of emotional responsiveness in children;
3. “Mi” - the formation of singing skills;
4. “Fa” - development of performing skills;
5. “Salt” - expanding your musical horizons and ideas about the world around you;
6. “A” - mastering choral singing skills;
7. “Si” - the development of children's song creativity.
To begin learning to sing, it is necessary to determine the sound range, type and characteristics of the child’s voice, and systematically strengthen it, creating a favorable “sound atmosphere” that promotes the development of voice and hearing. And coordination of voice and hearing is the most important condition for the development of children’s singing abilities.
Singing range – This is the volume of sounds, which is determined by the interval (distance) from the highest to the lowest sound, within which the voice sounds good.
It is necessary to constantly ensure that children sing and talk without tension, without imitating the excessively loud singing of adults, to explain to parents the harmfulness of noisy singing and talking in children, and not to allow them to sing outside in cold and damp weather.
When working with children I was guided by the following principles:
1. Focused, systematic, planned.
It consists of clear planning of activities with children, their systematicity and purposefulness. For the musical development of children it is very important that the song sounds in different types activities of preschoolers, and not just in music classes. The song can be played on morning exercises, on a walk in warm time years, during labor processes, and so on.
2. The principle of a differentiated approach to working with children and taking into account their individual characteristics
3. The principle of goodwill and openness.
The selection of repertoire is perhaps the most important and difficult task- find a song that would be in tune with the mood of the children, reflect their interests and ideas about the world around them, develop them spiritually, and be accessible for performance. For each age group, interesting and accessible material has been selected with which you can solve various problems development of vocal skills. After all, songs and nursery rhymes evoke a surge of positive emotions in children, create a joyful mood, and cultivate an optimistic character.
After selecting the repertoire, it begins vocal and choral work.
First of all, children are reminded rules of singing installation, and their implementation is constantly monitored, because the appropriate physical state, correct breathing, the necessary character of the sound, and emotionality depend on how free and, at the same time, actively the singer feels.
Singing installation – This is the correct position of the body when singing, on which the quality of sound and breathing largely depends. When teaching children to sing, you need to pay attention to how the children sit, stand, hold their heads and bodies, and how they open their mouths.
Singing attitude (singing rules):
- sit (stand) straight;
- don't slouch;
- do not strain your body and neck
- keep your head straight, without throwing it back or lowering it, but without tension;
- take your breath freely (do not take it in the middle of a word);
- sing in a natural voice, avoiding harsh, forced sound;
- the mouth should be opened vertically, and not stretched wide, in order to avoid a loud, “white” sound;
- the lower jaw should be free, lips mobile and elastic.
At the stage of formation of vocal and choral skills, almost all elements of vocal and choral technique are simultaneously included in the work, and in subsequent periods they deepen. Their sequence and gradualness is as follows.
Vocal and choral skills:
sound formation
purity of intonation
ensemble
First, work is underway to develop a melodious sound based on elementary mastery singing breath, which significantly affects the purity and beauty of sound and the expressiveness of performance. This is a complex and lengthy process, so initial stage learning it comes down to mastering smooth and uniform inhalation and exhalation, without interrupting the musical phrase. Such an exhalation largely depends on the correct breathing. It is very important to teach a child correctly and in in the right place take breath. It is necessary that the child understands what is wanted from him.
For example: “Look, I’m singing the whole phrase in one breath, but I can’t finish it. Why? Try it." Child... “Can you feel it?” "I didn't have enough strength." “That’s right, but not strength, but air. This means we need to get it into our lungs again. Let’s take a breath and continue singing.”
Exercises from breathing exercises by A.N. help teach children to breathe calmly, not overloaded with air, without the participation of the shoulders. Strelnikova (“Palms”, “Drivers”, “Pump”, “Kitty” and others) and the system of D. Ogorodnov (“Smell a Flower”).
In the future, the task becomes more complicated - children learn to take a quick, calm breath in moving songs and between phrases.
Working on singing breathing is related to sound production. And here, of course, a system is needed - singing exercises and gradual reminders. I use a gesture to help me take my breath in time. I suggest that after the introduction to the song, “smell the flower” and immediately start singing. To prevent children from tearing up the word, I show correct and incorrect execution. Then we perform the exercises correctly. To develop breathing, we sing vowel sounds as we exhale, open syllables(for example: yes, ta, la), phrases, starting with short ones and gradually moving to longer ones (for example: “I walk and sing”).
Sound formation at correct positioning The voice should be natural, sonorous and light, children should sing without screaming or straining. For proper sound production, the precise functioning of the vocal apparatus (lower jaw, lips, soft palate with a small tongue) is of great importance. The quality of sound known as melodiousness is closely related to sound production.
To teach children to sing in a drawn-out, melodious manner, it is necessary, starting with the younger group, to teach them to draw out individual sounds, the ends of musical phrases. For example, in the Russian folk song “Cockerel,” you need to sing the last syllable in the word “cockerel” in a drawn-out manner, or in the song “Cow” by M. Rauchwerger, the last syllable in the word “on the meadow” (the end of the musical phrase).
The length of the singing depends on the correct breathing and on the predominance of vowels, which is typical for folk songs (for example, “There was a birch tree in the field”). Singing songs written in moderate or at a slow pace, as well as learning songs at a slow pace first. For good sound production, the correct pronunciation of vowels and consonants is of great importance. Diction in singing is somewhat different from speech pronunciation.
Work on diction begins with the formation of rounded vowels and clear pronunciation of consonants in songs of moderate tempo, and then in cheerful, comic ones that require mobility of the articulatory apparatus. I try to teach children singing diction, I explain to them that they need to sing a song so that listeners can understand what is being sung in it, I show them how to pronounce individual phrases and words. The condition for good diction and expressive singing is that children understand the meaning of the words and the musical image of the song. The phrasing in a song is determined by the content in its verbal and melodic expression.
Therefore, we first determine the content of the song, decipher unclear words, we find the climax.
To develop the skill of expressive diction, it is recommended to use: articulatory gymnastics exercises, tongue twisters, tongue twisters, speech exercises, and rhythmic declamations.
Articulation gymnastics
The main goal of articulation gymnastics is to develop high-quality, full-fledged movements of the articulation organs, prepare for correct pronunciation phonemes. As a result of this work, our children’s indicators of the level of development of children’s speech, singing skills increase, musical memory and attention improve.
For example, game "Tongue"
(an articulation game for kids. The game is that the tongue “travels” across the child’s mouth and thereby warms up all the necessary muscles. During the game, children are told a rhyme and they must repeat all the movements after the leader).
|
« Left right |
(we pierce the cheek on the left with our tongue), (now the cheek is on the right), |
|
(left again) (on the right again). |
|
|
Up down |
(pierce the upper lip with the tongue), |
|
Up down Tongue, don't be lazy! |
(upper and lower lips once more). |
|
Lips, wake up! Mouth, open up |
(vibrate lips) (open your mouth very wide)! |
|
Tongue, show yourself and don’t be afraid of teeth |
(bite the tip of my tongue) (stick your tongue forward and move it back, while biting the entire surface of the tongue)! |
| And the teeth, and the teeththey even bite their lips |
(bite your lower lip). |
| They bite, they biteand they don’t let up. | (bite upper lip) |
| And the lips laughthen they get very offended |
(open with a smile upper teeth), (we turn out our lower lip, giving our face an offended expression). |
| They laugh merrilythen they get offended again |
(open your upper teeth in a smile), (turn out the lower lip). |
| The teeth got tired of biting - they began to chew the tongue | (chew the tongue with the side teeth). |
| The tongue is not a cabbage leaf, it is not tasty at all! | |
| Teeth, teeth, calm down,wash yourself thoroughly | (we run our tongue between the upper lip and teeth). |
| Don't get angry, don't bite,and smile with us! | (we move our tongue between lower lip and teeth) (smile) |
Exercises according to V. Emelyanov’s system, which are divided into static and dynamic, are also invaluable.
Data articulation exercises are previously practiced in classes with a speech therapist in front of a mirror so that children have the opportunity to control the quality of each movement. During music classes, children perform already learned articulation exercises, so visual control in this case is not necessary. In one music lesson, no more than five exercises are taken before singing. As children master them, new exercises are introduced.
Examples of static articulation exercises .
Static articulation exercises should be performed at a slow pace (each articulatory position is held for 3-7 seconds, after which the tongue, lips and cheeks take a neutral position for the same time).
The purpose of static exercises is to develop in the child the ability to hold the organs of articulation in a certain position.
1. “Chick” - open your mouth wide;
2. “Smile” - smile widely so that the upper and lower teeth are visible (the jaws are clenched);
3. “Tube” - the lips are extended forward, as when pronouncing the sound U.
Unlike static exercises, dynamic exercises serve to develop the ability to switch from one art pose to another, and therefore must be performed at a faster pace
Examples of dynamic articulation exercises
1. “Watch” - mouth open, lips in a smile. The sharp tip of the tongue makes movements “one” - to the left corner of the mouth, “two” - to the right. Instead of counting “one-two” we pronounce onomatopoeia: “tick-tock”;
2. “Smile – tube” - on “one” - lips in a smile, on “two” - stretch your lips forward in a tube. We present the same exercise to children as “Happy and Sad”: a smile means a cheerful person, lips in the “Tube” position means a sad person. Musical accompaniment - “Clowns” music by D. Kabalevsky;
Rhythmic Declamation – it is a synthesis of poetry and music. In modern musical methods of teaching preschoolers, rhythmic declamation is considered as one of the promising forms of developing musical ear, voice, sense of rhythm and expressive speech intonation in children. Until a child learns to control his speech, it is difficult to hope that he will be able to sing correctly and expressively. During classes, even children who sing poorly take part in rhythmic declamation with great pleasure. Why is this happening?
Firstly, this is an interesting combination of beautiful, modern, emotionally imaginative music and bright, original poetic texts. Reliance on speech intonation makes it possible for all children to participate equally in the process of music-making, despite the singing range of the voice and the level of development of vocal-auditory coordination. Thus, rhythmic declamation develops in children a sense of self-confidence and awareness of their importance in the team.
For example, speech exercise:
Working on intonation (accurate melody reproduction) I start with the concept of pitch. The purity of intonation depends on the child’s musical environment. Purity of intonation in singing requires permanent job on improving hearing. One of the reasons for incorrect intonation is the inability to use the middle and upper register. In this case, I use transposing the melody into a key that is convenient for the child. First, I invite the children to do exercises on onomatopoeia, then sing jokes. It is advisable that the melody goes from top to bottom: this immediately tunes the vocal apparatus to a high sound.
So that children can easily determine the direction of movement of the melody, I use modeling (showing hand movements, didactic games, flannelograph and so on).
For efficiency, I use “live pictures” manuals with moving parts ( exercises “Ladder”, “House on the Mountain”, “Sing with Me” and others). Also, to improve the purity of intonation in singing, I use systematic repetition of learned songs with accompaniment and a cappella, the “drawing with a voice” exercise.
This activity involves moving your voice freely along drawn lines. Before starting to work with drawn models, children try to depict with their voice the howling of a blizzard, wind, the flight of a beetle or bird, jumping frogs, a bouncing ball, raindrops, falling stars... From the point of view of methodology, this is one of the most unusual and original forms when the child does not feel bad singing. This is a method that teaches the child to independently control the line of movement of the voice, directing it as best he can. In the future, such models are performed according to the drawing and the hand of the teacher, showing in which direction to lead the voice. The performance should be calm and unhurried, without sharp shouts, with soft inhalation and exhalation. Rising, descending, circling lines should hang in space and melt.
For example,
Slender, clear singing in unison lays ensemble basics– integrity, unity of sound. When singing in chorus, I try to teach children to listen to themselves and others, to merge with the general singing, and to make sure that no voice stands out. This can be achieved by focusing children's attention on the simultaneous introduction, maintaining a general tempo, and simultaneously starting and ending singing phrases. One should strive not only for simultaneity of singing, but also for its expressiveness, soft endings of phrases, dynamic shades, semantic accents, and the quality of sound design corresponding to the nature of the music.
Ensemble in children is achieved gradually. In the second younger group at the beginning of the year, the kids start singing only after the teacher starts singing, and at the end of the year they begin the song after the end of the musical introduction.
A noticeable result in the formation of ensemble and tuning skills in both children and older children is achieved by the technique of singing “in a chain”. Kids master it by “playing with a song.” Songs with repeating musical phrases are suitable for this game ( for example, r.n.p. "Cockerel" arr. M. Kraseva, “Bunny” arr. G. Lobacheva and others). IN middle groups a variety of roll call options are used: singing “in a chain”, duet, trio ( together with the teacher), alternate singing ( teacher, children, and music director). In the same sequence, the ensemble structure of children in older groups is improved. Here, “echo songs” and “singing to oneself” are added to the “chain” singing. This work on developing the skill of harmonious, unified singing has the goal of teaching children to perform melodies with intonation accuracy when singing collectively in unison.
In order to teach children harmonious, unified singing, you can also use the following techniques. First of all, before you start singing, you need to gather the attention of the children. If the song has a piano intro, give a signal - wave your hand or move your head so that everyone starts the song at the same time, after the intro. If there is no such introduction, then it is recommended to play the beginning of the song (the chorus, the first musical phrase), and sometimes the entire song.
You can get children's attention by playing the first interval of a song or its first sound. Children sing it quietly on the syllable “tu” or closed mouth, and then begin to sing at the teacher’s sign. When singing softly, it is easier for children to focus their attention on the sounds.
I resort to conducting a children's choir in cases where children sing without instrumental accompaniment (a cappella) or when they are at some distance from the instrument while singing, as often happens at a holiday. With the help of conductor's gestures, you can indicate the exact beginning of the introduction and ending of the song, the intensification and weakening of the sound, its delay, the pitch of the sound, and changes in tempo. However, conducting should not be overused. We need to teach children to feel the music and make nuances without the help of a conductor.
Song creativity.
In the development of singing skills, great importance is attached to children's song improvisation. Children must be taught the ability to create and independently search for song intonations, develop their musical taste, and achieve stable singing skills. And most importantly, develop the ability to intonate cleanly with musical accompaniment and without it, sing in a natural voice.
The desire for song creativity manifests itself early in children. Starting from the junior and middle groups, we identify these inclinations and promote their successful development. In the senior and preparatory groups, work continues to consolidate the skills acquired by children in early preschool age, but at a higher quality level. the main objective– expand children’s musical experience, develop the skill of independent improvisation, and also help children overcome uncertainty, embarrassment, relieve tension, develop imagination, attention, and memory.
Children not only enthusiastically improvise, but also try to draw songs graphically. For example, a song of a smooth, melodious nature is drawn with a wavy continuous line; the high and low sounds of the song are marked with ascending or descending lines; songs built on the alternation of long and short sounds, draw with long and short lines.
All of the above vocal skills (sound production, diction, breathing, purity of intonation, harmonious, unified singing) are closely related to each other. Work on them is carried out simultaneously, and skills develop gradually.
Working on a song
(it can be divided into several stages)
Stage 1 – familiarization with a new piece of music.
Various methodological techniques, which I use in the educational process, prepare children for purposeful listening to the song:
- brief introduction about this work (title of the song, authors of music and text);
- explanation of unclear words;
- reading poems and mini-stories that tune children to a deeper perception of the musical image;
- solving riddles, puzzles;
- involving children in dialogue when discussing a song image.
Such techniques help to awaken children’s interest in the song, the desire to listen to it more carefully and begin to learn it.
Stage 2 – learning a song.
The task of this stage is to create an atmosphere of empathy for this work. It is very important, when children perceive music, to develop their imagination, emotional response, thinking, and judgment. It is necessary to sing so beautifully and emotionally in order to interest children in a new song.
After listening to the song, a conversation is held with the children about the nature of the composition, its content, the most striking means used by the composer, and performance techniques are outlined. Such an analysis prepares children for learning the song and, at the same time, shows how carefully they listened to the music and how deeply they understood it, and helps to reveal the artistic image of the work.
At this stage, exercises for the development of singing skills play an important role. Children learn by imitation, so I show performance techniques, and they are reinforced through exercises. I give the exercise as chanting before singing songs. With their help, children learn the difficult melodic moves found in the song. Working on difficult melodies based on the material of the song itself requires repeated repetitions, which reduce children's interest in the song. Therefore, exercises that help overcome difficulties and acquire singing skills are given in game form.
In order for children to quickly remember the song, I help with instructions (“This song is easy, you should memorize it quickly”) and questions (“How does the first verse begin?”, “What is the second verse about?” “Which verse do you like best?”, "Or chorus?")
We play “Hint” with the children: I sing a song with stops and wait for the children to suggest the word that they “forgot”. Or I suggest guessing from the lips a word that the children have forgotten. At subsequent stages of learning, I pay attention to the fact that the children start each verse on time without delay. Of course, often in children with speech impairment due to lack of concentration voluntary attention this is problematic. In such cases, I try to praise children more so that they do not develop the “I don’t know how, I can’t” complex. The quality of a song's performance depends not only on its the right choice, but also on the learning methodology.
Stage 3 – performance of the song.
Children have already mastered singing skills and can freely perform the learned material. If the song is liked, the children sing it at will not only in class. They remember it for a long time, include it in games, and “perform” in front of the audience with pleasure.
Each song requires its own stage embodiment. Children love this stage of working with a song the most.
Interaction of the music director with teachers and parents in the development of singing skills.
For children to successfully master singing skills, it is necessary collaboration musical director of teachers and parents.
Helps in teaching children to sing working with parents. On parent meetings and in individual conversations I talk about what children learn in music classes, about protecting children’s voices, and so on. Folders with materials about musical education in the family, as well as the development of singing skills in preschoolers, are displayed for parents.
During the period of targeted work on the development of singing skills in preschool children, parental corners were created: “Protecting the child’s voice”, “Sing for health”, “Melodies for the little ones”, “Lullabies - lyrics of motherhood”, “Advice for those who want to learn sing". The texts of the songs being learned are also placed in the parent corners. Parents of our students are happy to take part in holidays and evenings of entertainment, in preparing and holding events, and creating a musical development environment. Such joint work between kindergarten and family has a beneficial effect on preschoolers. Parents trust our consultations and recommendations, and therefore many children, having become schoolchildren, continue to sing in vocal studios, enter a music school.
Success in classes is impossible without joint activities a musical director and teacher who actively helps and organizes independent music playing for children in the group.
Working with teachers open screenings are used (“The Journey of the Tongue”, “We are all not too lazy to sing songs” and others), consultations (“Advices for adults on protecting the voices of preschool children”, “Round dance games in working with children of primary and middle age”, and others) , conversations, round table, seminars where kindergarten teachers get acquainted with program tasks, methods and techniques for teaching children to sing. Each teacher learns the song repertoire individually, and recommendations are given for using the familiar musical repertoire in other classes and in the daily life of the kindergarten.
Teachers provide effective assistance in teaching children to sing, they skillfully organize a subject-development environment for the development of children’s musical abilities. The groups have a center for musical development, discs and cassettes with music for children, including music for special moments: lullabies, music of various types. Teachers conduct musical and didactic and round dance games with singing, include songs in daily life preschoolers. Thanks to the presence in each group of vocal didactic material(pictures, algorithm diagrams, song collections), students can engage in independent vocal activities, organize role-playing games with vocal themes (concerts, holidays in a doll family, and so on), in addition, children often sing spontaneously in independent activity, in restricted moments, in free play.
Results of work
Summing up the results of the work on developing singing skills in preschoolers, we can say that the goal has been achieved:
- children love to sing
- learned to control your voice,
- understand many vocal terms, conducting gestures,
- learned to hear and convey in singing the progressive and spasmodic movement of the melody,
- learned to start singing on their own, after a musical introduction and transition, exactly hitting the first sound,
- learned to hear and evaluate correct and incorrect singing.
All this can be clearly seen in the results of the final diagnosis.
Comparative diagnostics of the level of development of musical abilities for 4 years (2009-2010; 2010-2011; 2011-2012, 2012-2013) showed the following results:
|
age |
beginning of the year |
the end of the year |
|
|
2009-2010 |
|||
|
2010-2011 |
|||
|
2011-2012 |
|||
|
2012-2013 |
preparatory |
The combination of music and words helps children express their feelings and experiences. In classes for the development of singing skills, preschoolers participated in performing activities, which helped them understand the song deeper, while repeated repetition of the song did not reduce interest in it, but, on the contrary, gave it more new life. Purposeful work increased children's interest in musical activities and song creativity, and the song became firmly established in the children's lives.
Pupils of our kindergarten now sing not only in class, but also in informal setting independently, take an active part in concerts on different levels. They have developed such performing qualities as confidence, the ability to present themselves freely in front of the public, to perform a song beautifully, conveying to the listeners the character and meaning of the song.
Summing up the results of my work, I would like to emphasize that there are quite a lot of methods and techniques for developing the singing skills of preschoolers, but when organizing work in this direction, one should, first of all, focus on the children’s capabilities, carry out the work systematically and consistently, and actively involve educators and parents in cooperation
In the future, I plan to continue working on teaching children to sing, developing their vocal skills, and expanding the singing range of each student, using the experience gained.
The presented materials can be used by music directors and kindergarten teachers to develop children's creative abilities through musical activities, games, musical riddles, dialogues, and so on.
List of used literature:
1. Katser O.V. “Game-based methods of teaching singing,” ed. “Musical Palette”, S-P -2005
2. Orlova T. article “Teaching Children to Sing” // “Musical Director” No. 5,6 -2004, p. 21, No. 2-2005, p. 22
3. Tarasova K. article “Toward staging a child’s voice” // “Musical Director” No. 1-2005, p. 2
4. Sheremetyev V. article “Choral singing in kindergarten” // “Musical Director” No. 5-2005, No. 1-2006.
5. Volkova G.V. "Speech therapy rhythm." M., Vlados, 2002.
6. Tilicheeva E. “Little songs”. Vocal exercises for preschool children." M., Music, 1978.
7. Orlova T. M., Bekina S. I. “Teach children to sing.” Moscow, 1998.
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Consultation for teachers of preschool educational institutions “Development of singing skills of preschool children”
One of the powerful means of influencing the spiritual sphere of a person is singing– the most accessible performing type of musical activity for preschool children. In singing, the entire complex of musical abilities is successfully formed: emotional responsiveness to music, modal sense, musical and auditory perceptions, and mental abilities are activated. Perceiving music requires attention and observation, since when listening to music, the child compares the sounds of the melody and accompaniment, comprehends their expressive meaning, and compares the music with the text. In the process of singing, physical condition improves. Correctly performed singing organizes the activity of the vocal apparatus, strengthens the vocal cords, and develops a pleasant timbre of the voice; correct posture affects uniform and deeper breathing; singing with movements forms good posture and coordinates walking.
Singing is one of the child’s ways of communication and self-expression, natural, simple and accessible. In order to make singing a favorite activity for children, I suggest methodological techniques successfully used in their work.
It is known that singing is the only type of music in which the instrument is a part of the human body, and at the same time one of the most important and least controllable: the respiratory organs. The movements that occur inside, in tempo, rhythm and style, depend on emotional state, human mood. Therefore, learning to sing means learning to control your breathing and singing emotional mood. After all, if breathing is subordinate to emotions, then emotions can be subordinate to breathing, and you can automatically create an inhalation of excited and calm states, subordinating singing, speech, and well-being to it.
To develop singing technique, exercises are used that can be used in this sequence.
1. Exercises to develop breathing.
2. Exercises to develop articulation and diction.
3. Exercises to develop sound production.
4. Exercises to expand the range.
5. Exercises for the development of sound science.
There are a lot of exercises, but first, for the voice to sound freely, you need to sit or stand straight, do not raise your head high, put your legs straight, that is, take the correct singing attitude.
Before singing begins, the music director can remind the children about correct position body with the poem “Back - a reed” by M. Kartushina.
It is difficult for preschoolers to keep their back straight for a long time, so dynamic pauses are used to change positions and rest: “Teddy bear”, “Wind”, etc.
To improve the functioning of the respiratory apparatus, strengthen the external and internal muscles of the respiratory organs, you can offer exercises from the complex of paradoxical breathing gymnastics by A.N. Strelnikova, which are given in a playful way and children like. The essence is an active short inhalation; attention is not fixed on the exhalation, it happens by itself. Such exercises as “Palms”, “Cat”, “Pump”, “Ears”, “Hug your shoulders” have proven themselves well. Children also like sound breathing exercises, such as: game " Balloon", when children deflate the balloon, pronouncing the sound "ssss", and inflate it with the sound "f"; similar game for kids “Inflate, Bubble”, finger game “Balloon”, as well as visual exercises according to B.S. Tolkachev and M.L. Lazarev (“Rooster”, “Hedgehog”, “Mosquito”, “Bug”).
In exercises to develop singing breathing, the following logic is maintained:
- Singing two-bar chants.
- Singing songs and chants at an average tempo in 2/4 time.
- Singing songs and chants with gradually lengthening phrases.
- Singing songs with pauses for proper breathing.
In order to achieve clear and clear diction, the music director should teach children to clearly pronounce consonants and sing vowel sounds clearly, which requires constant tone from the articulatory apparatus, which can be achieved with the help of exercises such as vocal-articulatory exercises. These include songs - games where the music director sings the chorus, and the children are responsible for the character: “Raven”, “Eagle Owl” (model by D. Ogorodny), voiced articulatory gymnastics(“Motorcycle”, “Stream”, etc.). Musical finger games combine singing with active articulation and fine motor movements, which has a positive effect on the formation of pronunciation (“Mice”, “Teremok”, “Funny Vegetables”, etc.). To develop diction and articulation, it is good to pronounce and sing tongue twisters at different tempos, characters, using sounding gestures (claps, slaps on the knees) - according to the method of K. Orff. These are “Three Magpies”, “From the trampling of hooves”, “The ship was carrying caramel”, “Carousels”, etc.
Considering the range - the sound volume of the voice from the lowest to the highest sound, it should be noted that preschoolers have a small singing range due to the immaturity of the vocal apparatus.
When learning to sing, the range, as a rule, expands towards both the lower and upper registers.
Among singing skills, special attention should be paid to sound production: singing with a natural, high, light sound, without tension or screaming. Shouting singing distorts the natural timbre of the voice, negatively affects intonation, and the voice acquires a throaty sound. Sound quality depends on correct formation vowels. For this purpose, children were offered exercises that consisted of repeating vowels: first single, and then combined (A, A - A, A - A - A, A - O - U - I).
The most difficult singing skill is purity of intonation. Some children sing “purely” naturally, while others need special training. The purity of intonation is associated with the development of hearing: the modal sense and musical-auditory perceptions, the sensations of the gravitational pull of a melody towards stable sounds. Working on purity of intonation great attention is given to singing, that is, singing exercises are included in music classes, which contribute to the development of musical ear and voice. Folk songs and jokes are used as chants.
In addition to vocal exercises, a technique used to work on the purity of intonation is singing without accompaniment (a capella). At the beginning of the singing a capella“goes” with the support of an adult’s voice, then without support. Difficult passages are played by the music director on the instrument and then sung without playing along.
It should be noted that the most suitable material for classes with children is folk chants, songs, round dances, since their melodies are simple, they can be performed without accompaniment, which contributes to the development of singing skills.
In a music class, singing makes up almost 30% of all tasks.
The chants are:
1. Exercises for the development of voice and musical ear;
2. Learning a new song;
3. Consolidation, repetition of a previously covered song.
Work on a song can be roughly divided into three stages.
Stage I– introductory. There is a holistic perception of the listened work. The music director strives to awaken children's interest in the song and evoke positive emotions through a bright and expressive performance. A conversation about the emotional and figurative content of the song helps to set the children up for expressive performance, choosing sound production, diction, breathing that matches the character of the song (the character is affectionate - you need to sing drawn out, melodiously, etc.).
Stage II- learning a song. Children master the skills of sound production, breathing, diction, and purity of intonation. Learning a song occurs in stages: the melody is learned in parts, phrases, at a slow pace. They usually start learning with simpler, memorable fragments, for example, a chorus. When learning a song, it is best to invite children to first sing accompanied by a piano, playing along with the melody, then without an instrument, with the help of a music director, and finally sing a capella on their own. The most difficult stage is working on the expressiveness of the performance: you need to clearly pronounce each word, make semantic accents, and convey the character of the song. This is facilitated by the use of a conductor’s gesture: showing dynamics and accents with your hand, which helps in working on the pitch of the sound.
Stage III- repetition of the song. At this stage, children freely perform the learned repertoire, since they already master the singing skills acquired at the second stage. If the kids like the song, they remember it for a long time, include it in games and perform it not only directly educational activities, but also outside it.
Thus, singing as a type of musical activity consists of singing and auditory exercises, chanting, as well as tasks for distinguishing pitch and rhythmic relationships; step-by-step learning of a song, aimed at its consistent assimilation and the development of musical abilities in general.
Singing is the most accessible form of performance. In the process of singing, both children’s musical abilities and mental processes develop. Learning to sing is a very long and difficult stage. The teacher is required to have high professionalism and skill to fully realize the child’s singing needs, to develop the spiritual and moral qualities and personality of the preschooler as a whole.
Literature.
1. L. Abelyan “How Ryzhik learned to sing.” – M.: Sov. Composer, 1989
2. A.S. Antipina “Theatrical activities in kindergarten.” – M., 2003
3. N.A. Vetlugina “Musical education in kindergarten.” M., 1981
4. V.V.Emelyanov “Voice Development”. S–P., 1997
5. M.Yu. Kartushina “Vocal and choral work in kindergarten. – M. 2010
6. A. Levshinov “Healing fate: training the verbal part of karma.” M., 2002
7. P.S.Nemov “Psychology” vol.1. – M., 1995
8. T.M. Orlova “Teach children to sing (songs and exercises for voice development in children 3 – 5 years old).” – M., 1986
9. T.M. Orlova “Teach children to sing (songs and exercises for voice development in children 5–6 years old).” – M., 1987
10. O.P. Radynova “Methods of musical education of preschool children” - M., 1994
11. G.A. Struve “Steps of musical literacy” - St. Petersburg, 1999
12. M. Shchetinin “Breathing gymnastics by Strelnikova” - M., 2000
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