Music director of MBDOU kindergarten No. 14 "Lingonberry" Surgut

Tyumen region KHMAO-Yugra.

One form of prevention of diseases of the throat and vocal apparatus is phonopedic exercises, which are carried out on the recommendation of a pediatrician.

Developments by V. Emelyanov and M. Kartushina develop nasal, diaphragmatic, abdominal breathing, stimulate the laryngopharyngeal apparatus and brain activity.

From existing voice activity levels (pre-speech, speech and singing) singing is based on signals of pre-speech communication, because the vocal apparatus is a self-regulating system in which only the articulatory muscles can be controlled. And all other components are influenced only through the creation of optimal conditions for the operation of the self-regulation mechanism.

Vocal manifestations begin already in newborns. It has been proven that by the screaming and crying of a child it is already possible to determine what kind of voice it will be - high or low. The vocal apparatus develops through sound signals of pre-speech communication (squeak, moan, cry, hum).

By the age of five, the gradual development of the vocal folds begins. From the age of 9-10, voices become stronger and their range expands.

Adults should remember that children should be taught to sing not for matinees, concerts, or children's entertainment. The main goal is the development of the child’s personality, emotional sphere, and aesthetic feelings. All children want to sing. They often sing too loudly, shouting, thereby straining their fragile vocal cords. Teachers must competently regulate the singing process, taking care of the health of their students, using health-saving technologies such as phonopedic games and health-improving exercises for the throat to strengthen the vocal apparatus.

Children have both falsetto and chest sounds. The chest sound is more natural for them, as it comes from the spoken one. They use it most often in singing. However, singing in falsetto is safer for preschoolers, since the sound is based on the non-closure of the vocal cords, while chest singing causes friction of the ligaments. Therefore, for children of younger groups, the register from A of the first octave to E of the second octave is suitable, for older children - from A of the small octave.

Researchers prove that the muscles of the vocal apparatus in preschoolers are not developed, but they exist and function. Therefore, it is necessary to start developing a singing voice not from the age of 7, but earlier. It is necessary to focus on the vocal education of children under 6 years of age, since at this age all the necessary physiological and psychological characteristics for learning to sing have already been formed: the readiness of the vocal apparatus, the necessary amount of memory, the development of perception, imagination, and speech functions.

GAME PHONOPEDIC EXERCISES

The purpose of the exercises is to activate phonation exhalation, that is, the connection of the voice with breathing, which differs in energy costs from speech.

Exercise "Rubber toy" (for the development of lower breathing)

We bought a rubber Zina at the store and brought the rubber Zina in a basket. A. Barto. Consonants are pronounced easily and quietly as you exhale.

She said: -Shh-sh-sh! Then she said: “Sssss!”

Then she said: -H-x-x-x! Then tiredly: - F-f-f-f!

Then it’s so strange: - K-k-k-k! And so usually: - T-t-t-t!

Then lightly: - P-p-p-p! And very firmly: - B-b-b-b!

She buzzed quietly: -W-w-w-w! And she was completely blown away:

Exercise "Let's warm ourselves up"

Our palms are freezing in the wind, we’ll warm them up a little...

At first, children breathe silently on their palms, then with a voice - "Ah-ah" .

Exercise "Let's count" Children count, increasing their voice from a whisper to a scream. For example: 1 - whisper, 2 - quietly, 3 - louder,

4 - even louder, etc.

Exercise "Caprizka"

I won't clean up! I won't eat! I'll keep whining and not listen to anyone!

Then the children first shout: “Ahh!” , then howl: “U_u!” and then they scream: “E-and!” .

Pronounce actively and STRONGLY "V-v-v-s" , "Z-z-z-s" .

No wonder the blizzard is angry. “V-v-v-s!” , “3-z-z-y!” , “V-v-v-s!”

Its time has passed. “V-v-v-s!” , “3-z-z-y!” , “V-v-v-s!”

Spring is knocking on the window. “Ding! Ding! Ding! Short and active in different registers.

And he drives out of the yard: “Uh-uh-uh!” Glissando up.

A set of breathing exercises "Let's warm ourselves up"

The severe frost froze our noses. Inhale through the nose, exhale noisily into

Let's warm up our nose and breathe quickly. the palm with which the face is covered.

Warm your nose, take a deep breath through your nose, draw in

And my chin is frozen. lower lip under the upper, silently

blow down on your chin for a long time.

Let's warm our palms: Let's breathe more fun! Exhale onto the palms with a syllable "fsh" .

Are our feet cold? Let's dance merrily! Perform squats while saying "uh" .

Suddenly a breeze came, a playful boy.

He raised snowflakes into the sky and danced a waltz with them.

Game body massage "Bunny" 3

A white bunny came running and started jumping in the snow. Tap their fingers on the soles of their feet.

Jump-jump, jump-jump! Our friend is fidgety.

The bunny jumped onto the stump, he beats the drum loudly: The children slap their palms on their knees.

Boom-boom-tra-ta-ta! The winter weather is beautiful!

And it’s so cold in the forest! Our bunny is completely frozen. Children clap their hands on their shoulders.

Paws - clap-clap! Legs - stomp, stomp! They clap their hands. They stomp.

Nose - tret-tret-tret, Stroking the wings of the nose.

Ears are creased, creased, creased. Ears are pinched.

Jump higher, bunny, jumping bunny. Easy jumps.

HEALTH EXERCISES TO PREVENT THROAT DISEASES

1. "Tanya is crying" . A. Barto

Our Tanya is crying loudly: she dropped a ball into the river. Hush, Tanechka, don’t cry: the ball won’t drown in the river.

Children imitate crying, sob loudly, breathe "sobbing" .

2. "On a horse" . N. Bakozade

I'm jumping on a twig. - Chew, my horse, choo! I feed you your fill, I shoe your hooves,

He combed his fluffy tail and tied his mane with a ribbon. I'm flying like the wind. - Chew, my horse, choo!

Children click their tongues with different dynamics and speeds.

3. "Crow" . V. Stepanov

The person is known to everyone, she is a local screamer.

He sees a dark cloud, flies up to the green spruce and looks as if from a throne, the Crow...

The children say in a drawling voice: “Ka-a-r-r!” - first loudly, then silently, with your mouth closed.

4. "Tractor" . M. Pogarsky

This tractor is very strong and is not afraid of holes and bumps. Today he helped us get home without roads. Children must pronounce sounds clearly and loudly (d-t) with different dynamics and tempo.

5. “I wish I could get some sleep!” . N. Pikuleva

I carry the good fellow in my arms, I carry him in my arms and look at him:

Do simple-minded little eyes sleep? Do naughty little hands sleep?

Oh, they’re sleeping, sleeping, sleeping, growing up... All the fun is left for later...

Children sit relaxed, arms down, and yawn.

6. "Laughter" .

The children laugh and giggle loudly.

Two girlfriends were laughing under a birch tree at the edge of the forest. They laughed and laughed and almost fell over laughing!

7. "Lion" Hilaire Belloc

A lion lives in the desert, brave, slender and strong. The lion has a large head and a very terrible mouth.

He can bare his claws and roar menacingly, and little children should never play with a lion!

Children should stick their tongue out as far as possible to reach their chin.

8. "Song" .

We love to sing songs, but we don’t know the words. But we diligently open our mouths!

Singing any song quietly, without words, saying only “A-ah!” .

9. "Vowels" .

Children slowly pronounce pairs of vowels: a-ya, o-yo, u-yu, y-i, e-e.

Then the exercise is repeated silently.

10. "Monkeys" .

We are no longer children, but cheerful monkeys!

Children stretch out their lips, move them in different directions, making grimaces.

11. “We need to gargle” .

Children imitate gargling by turning their heads left and right.

12. "Cow" .

Early in the morning the shepherd boy: “Tu-ru-ru-ru!” And the cows sang to him in harmony: “Moo-moo!”

Children inhale deeply through their mouths, exhale slowly and hum, lightly tapping their index fingers on their nostrils. The same is done with tapping the nasolabial folds with your fingers.

13. "Owl"

The owl is gray, the owl is old, and his eyes burn like headlights.

Only at night the eagle owl is scary, but in the light it is powerless.

Children lightly tap their fingers on their upper lip, saying: "I wish I could" .

14. "Bee" .

The bee has a wonderful gift: collecting nectar from flowers!

“Okay, anyone will understand if you eat honey in winter!” V. Sibirtsev

Children hold their hand on their neck and say one by one: "W-w-w" And "3-z-z" .

THE STEAM LOGO BROUGHT US TO THE FOREST

(a set of preventive exercises for the upper respiratory tract)

The exercises can be accompanied by the display of illustrations or slides.

The locomotive brought us to the forest: Walking around the hall with arms bent at the elbows.

Chug-chug-chug! Chug-chug-chug

It's full of miracles. Pronounce in surprise "Mmm" on exhalation, one-

temporarily tapping your fingers on the wings of your nose.

Here comes an angry hedgehog: Bend low, clasping your chest with your hands -

P-f-f-f, p-f-f-f, p-f-f-f! hedgehog curled up into a ball.

Where's the nose? You won't understand. Direct your sound and gaze according to the text.

F-f-r! F-f-r! F-f-r!

Here is a cheerful bee Strengthening the ligaments of the larynx, preventing snoring.

She brought honey to the children: Zzzz! Zzzz!

She sat on our elbow: Zzzz! Zzzz!

Flew onto my toe: Zzzz! Zzzz!

The donkey scared the bee:

Y-ah-ah! Y-ah-ah! Y-ah-ah!

He shouted to the whole forest:

Y-ah-ah! Y-ah-ah! Y-ah-ah!

Geese flying across the sky, Slow walking, hands "wings" lift with inhalation

The geese honk at the donkey: G-oo-oo! G-u-u! lower with a sound.

G-u-u! G-u-u! G-u-u! G-u-u! G-u-u! G-u-u!

Tired? We need to rest, the children sit on the carpet and yawn several times,

Sit down and yawn sweetly. thereby stimulating the laryngopharyngeal apparatus and

brain activity.

This technique is preparatory, auxiliary and phonopedic in relation to vocal pedagogy as an integral process of educating a singer-musician and is addressed, first of all, to those whose vocal abilities do not allow them to successfully learn using traditional methods.

Criteria for the technology of academic opera and concert singing.

The main general criterion is the predominance of stationarity in the position of the vocal apparatus and stationary processes in its functioning, reducing the time spent on transient processes to a minimum. All of the following particular criteria decipher the general one, organize self-observation and self-analysis of the singer, and focus attention on specific parts of the vocal apparatus and specific voice-forming processes.

Larynx

1. Preservation of the oscillatory process of vocal folds (continuity of phonation) when intoning an interval on a vowel, or on a sequence of vowels, or with voiced and sonorant consonants. The absence of “aspiration” between the connected tones and vowels, the principle of “siren”, glissando, portamento, implemented unnoticed by the listener.

2. Independence of the operating mode of the larynx (register) from the pitch (arbitrary control of register mechanics).

3. Independence of the mode of operation of the larynx (register) from the strength of tone. Arbitrary control of tone dynamics within acceptable physiological and acoustic limits while maintaining the selected mode of operation of the larynx (register).

4. Independence of tone strength from its height.

5. Independence of tone strength from its duration.

6. Independence of tone strength from the volume and shape of the vowel.

7. Independence of the operating mode of the larynx (register) from the volume and shape of the vowel.

8. Stopping phonation with inhalation.

Horn

9. Mutual independence of movements of articulatory muscles.

10. Maintaining the shape of the horn when changing the pitch, i.e. when intonating an interval on a vowel. Only the observable and controllable components of the horn (jaw, lips, anterior part of the tongue, facial muscles) remain unchanged. Changes in the horn when changing the pitch necessarily occur at the level of self-regulation. These changes are either not realized or are realized through the accompanying vnbro-, baro- and proprio-sensations.

11. Setting the volume and shape of a vowel before the onset of phonation and before pronouncing the preceding consonant.

12. Preservation of vowel volume at the moment of cessation of phonation. At the moment the sound stops, the mouthpiece must close.

13. Independence of the shape and volume of the vowel from the duration of the tone: throughout the entire duration of the tone, the vowel must be maintained in the same volume and shape.

14. Independence of the shape and volume of the vowel from the pitch of the tone in the lower and middle parts of the range (this refers to observable and controllable components - see paragraph 2).

15. Independence of the shape and volume of the vowel from the strength of tone: the vowel should not change in the process of crescendo and diminuendo (observable and controlled components are also meant).

16. Preserving the specially found optimal vowel volume at crescendo and diminuendo at a constant pitch - “filing”.

17. Minimizing differences in vowel patterns. Minimization of articulatory movements with increasing pitch. Transition in the upper part of the range to articulation based on a neutral vowel.Singing tone exists outside of vowels, but it can be given the shape of one or another vowel by a minimal articulatory action. The singing vowel, which arises on the basis of the singing tone as a result of such a minimal action, is phonetically and acoustically very different from its speech counterpart. This the difference increases with increasing tone. The perception of the semantics of vocal speech occurs according to different laws in comparison with spoken speech. The articulation of vowels of different languages ​​differs significantly in the spoken speech stream. In academic singing, vowels are almost the same in all languages.

Vibrato

18. Arbitrary controllability of vibrato frequency and amplitude. Using this controllability to realize the stylistic features of vocal music as a factor in the emotional expressiveness of the singing tone.

19. Non-participation of visible parts of articulatory muscles in vibrato pulsation. (No shaking of the jaw and/or tongue in sync with the vibrato pulse).

20. Maintaining immobility of the visible part of the larynx, its non-participation in vibrato pulsation. (absence of vertical oscillations of the larynx synchronously with vibrato pulsation).

21. The intensity of the pulsation of the internal respiratory muscles as a vibrato generator is sufficient to reflect this pulsation on the lower part of the abdominal wall, and/or on the sides, and/or in the lower back, and/or in the perineum (depending on individual characteristics and tone intensity). This criterion operates at the coordination and training stage - obligatory, and then - individually, depending on the pitch and intensity of the tone.

22. Independence of vibrato frequency and amplitude from pitch. In the upper part of the range, a slight decrease in frequency and a change in amplitude (decrease and increase), unnoticeable to the listener, but controlled by the performer, are allowed.

23. Independence of vibrato frequency and amplitude from tone duration. Uniform and identical pulsations of vibrato from the moment of attack of a tone or pronouncement of a syllable until the release of the tone or until the next consonant, i.e. throughout the duration of the tone.

24. Independence of frequency and amplitude of vibrato from the volume and shape of the vowel.

25. Preservation of vibrato characteristics during the transition from vowel to vowel.

26. Preservation of vibrato characteristics when moving from tone to tone on one vowel and with changing vowels.

27. Independence of vibrato characteristics from previous and subsequent consonants.

28. Preservation of vibrato characteristics in the process of changes in the metro-rhythmic structure of the melody. If the absolute duration of the tone allows a vibrato pulsation to occur, i.e. vibrato “has time to work”, its parameters must be preserved regardless of the musical notation of relative duration: quarter, eighth, sixteenth...

Breath

29. A short, silent breath in through the mouth or simultaneously through the nose and mouth (the second is preferable).

30. Independence of the position of the chest from the movements of the abdominal muscles. Raised and expanded fixed chest with a moving abdominal wall.

31. Maintaining a raised and expanded position of the chest when changing height and current strength.

32. Reaction of the lower abdominal wall to the pronunciation of consonants and to the attack of vowels.

33. Pulsating reaction of the lower abdominal wall to vibrato pulsations (see paragraph 3.4.).

34. Independence of the level of phonation exhalation activity from changes in pitch (melody movement).

Consonants

35. Maintaining the strength of tone before and after pronouncing a consonant.

36. Preservation of the shape and volume of the vowel before... and after...

37. Maintaining vibrato characteristics before... and after...

38. Maintaining the activity of phonation exhalation before.. and after. with minimal interruption of exhalation by pronunciation movements.

39. Pronouncing voiced and sonorant consonants at the pitch of the following vowel.

40. Comparability of voiced and sonorant consonants in terms of sound intensity with vowels.

41. Comparability of voiceless consonants in terms of the cost of respiratory and articulatory efforts with voiced and sonorant consonants and with vowels.

Spacing and vowels

The specificity of coherent “cantilena” singing in academic vocal art is the slid, sliding connection of steps in intervals, the absence of “aspiration” between steps of intervals or scales. This method of connecting steps can be noticeable to the auditory attention of the audience and is then perceived as a “porch” or “portamento”, or it can be invisible and then perceived as a cantilena. To master this technology, it is necessary to master the planing method of connecting stages for a long time, gradually reducing the planing time.

The connection of vowels or the transition from one vowel to another is made in the opposite way: fast, sharp. But to understand the essence of this technology, it is necessary to accept the following unusual idea: THE SINGING TONE EXISTS OUTSIDE THE VOWEL, in much the same way as the tone of any musical instrument exists outside the vowel. But the tone of, for example, a trumpet, can be modified with the help of a mute and the so-called “wah” up to the imitation of a vowel. This is approximately the essence of the specificity of the phonetics of academic singing: the singing tone should not change due to changes in vowels. We will conditionally call this method of singing pronunciation “MASKING ARTICULATION”. This term means that the singing tone, which exists outside the vowel, is “masked” as the required vowel by certain precise observable and controlled movements of the articulatory muscles. But at the same time, all the timbral qualities of the tone are preserved.

Intelligibility in academic singing: pronouncing consonants

Consonants in academic singing differ from vowels mainly in energy costs and precise recording of the moment of pronunciation in the time of development of musical tissue.

The energy criterion is formulated as the comparability of respiratory efforts with the efforts required for vowel phonation. Voiceless consonants are pronounced according to this criterion, and voiced and sonorant consonants are pronounced according to the criterion of pronunciation at the pitch of the subsequent vowel. CRITERIA FOR ACADEMIC SINGING TECHNOLOGY - A TOOL FOR SELF-CONTROL AND SELF-ANALYSIS IN THE PROCESS OF PERFORMANCE.

The mentioned criteria are a verbal model that describes the ratio of stationary and transient processes in singing, the differences in these ratios compared to speech. The criteria describe dynamics, phonetics, breathing, registers. The criteria are the working language of communication in the process of learning to sing when assessing the aesthetic qualities of the singing process, in contrast to the process of voice formation.

The role of vocalizations in the daily training and creative algorithm

Vocalizations are a way of inhibiting the speech motor stereotype, creating the inertia of a constant acoustic volume and the inertia of phonation exhalation. Vocalises are an abstract model of the real singing performance process without a concrete, poetic or prosaic text. During vocalises, performance skills are trained to connect creative acting imagination, different stage feelings, actions and relationships with the musical text of vocalises, different techniques of voice production technology, different tempo-rhythms of existence and performance and different dynamics and timbre colors of the voice.

Principles of the phonopedic approach and phonopedic method :

1. The first principle is to consider three levels of vocal activity:

¾ pre-speech (coughing, sneezing, blowing, crying, hissing, growling, humming, screaming, laughing, howling, squeaking, etc.);

¾ speech (ordinary speech, humming, loud speech, folklore, pop singing, performing rock music);

¾ singing (professional stage or oratorical speech).

The levels of vocal activity appear in the form of a dialectical triad. The speech level, which represents the second signal system, is the negation of the pre-speech level, and the singing level is the negation of the speech level, i.e. denial of denial. The latter can also be considered as a return to pre-speech at a higher turn of the dialectical spiral, because, from the point of view of physiology and acoustics, the singing level is nothing more than vocal signals of pre-speech communication.

2. The second principle - the formation of a complex singing motor skill at the operational level - in its entirety looks like this: the skill consists of elementary motor operations, each of which is absolutely accessible to any person. If there is no skill by nature, i.e. If there is no singing voice, then the singing skill in its “rough”, technological form can be gradually formed through the synthesis of elementary operations.

3. The voice apparatus is a self-regulating system. Therefore, we will consider the relationship between management and regulation as the third principle. While singing, the perceived acoustic result is continuously compared with the regulating image of one’s voice as an idea of ​​the optimal subjective sound.

What can you really control, i.e., in other words, move, continuously feeling and controlling the movement process? Facial muscles: lips, which take part in articulation, cheek muscles, chewing muscles: lower jaw, tongue, with which you can raise and lower the larynx (but is it necessary - another question!).

Well, what about breathing? Sometimes vocal teachers say: breathing cannot be controlled, but it can be felt. This is perhaps the most reasonable position. Let’s add: breathing can and should be trained only together with the voice.

Thus, life-sustaining breathing is subject to both control and regulation. We can hold it arbitrarily, speed up the tempo, increase or decrease the depth of inhalation, the speed and intensity of exhalation, in a word, do what is necessary when singing. We give a volitional impulse - a task: hold your breath, and then regulation begins to operate. True, nature has set restrictions: we can hold our breath only up to a certain point, until the body’s automatic protection against oxygen starvation turns on. This is the principle of approaching the vocal apparatus as a self-regulating system.

4. The fourth principle - the principle of homogeneous actions when learning to sing - consists of repeated performance of the simplest operations, during which the vocal apparatus, as a self-regulating system, automatically finds the optimum, while simultaneously training the corresponding muscular systems. One of the first examples of scientific awareness of this principle in vocal pedagogy was developed by A. V. Yakovlev. The author builds the initial stage of working with a vocalist, including correcting defects in singing voice formation, on repeated staccato repetitions in the lower part of the range.

5. The principle of observability is visual and tactile.

6. The principle of self-imitation: repetition not of someone else’s sound, perceived only by ear, but of one’s own, with the whole complex of vocal-bodily sensations (vibro-, baro- and proprioception).

7. The principle of aesthetic negativism: singing in a deliberately ugly voice in order to shift attention from the control of timbre to the control of vibration, baro-, proprioception and phonetics.

Coordination and training stage

The coordination and training stage contains:

Creation of a material base, a tool for solving musical problems;

Awareness of the actions of the muscles involved in voice formation (direct awareness of the skeletal and facial muscles, indirect - internal respiratory, laryngeal, pharyngeal - through vibration, baro- and proprioception, through nearby interacting muscle groups represented in consciousness);

Awareness of sensations of vibration, pressure, muscle action separately from the perception of the sound of your voice;

Awareness of the connection between these different modes with different timbres and different voice strengths;

Awareness of the connection between the action of different modes of operation of the vocal apparatus with different parts of the range;

Awareness of the connection between the action of different operating modes of the vocal apparatus, different timbres and different voice strengths with different energy costs;

Formation of a connection between ideas about different modes of operation of the vocal apparatus with different volumetric-spatial and emotional-figurative representations;

Forming a connection between everything previous and auditory ideas about the height of individual tones and intervals;

Formation of skills in choosing the mode of operation of the larynx that is optimal for realizing the auditory idea of ​​pitch;

Formation of skills in choosing energy expenditures that are optimal for realizing the auditory idea of ​​pitch;

Formation of skills in choosing larynx modes or their sequence that are optimal for the implementation of the auditory concept of the interval;

Formation of skills in choosing optimal energy costs to implement the auditory concept of an interval, its width, and overcoming this width;

Dosed training load on different muscle groups involved in voice formation, aimed at eliminating uneven development and preparing for solving pitch, dynamic and timbre problems that may arise in musical works.

This conditional category will be called a certain set of characteristics that distinguish academic singing voice formation from the usual one used in everyday colloquial speech. A necessary and sufficient condition for the first approximation to an academic singing tone is the presence of four indicators:

Appropriate use of operating modes of the larynx or registers;

Singing vibrato and arbitrary control of its parameters: frequency and amplitude;

Specific singing acoustics of the oropharyngeal cavities, specific articulation, significantly different from speech.

Under expedient use of operating modes of the larynx (registers) We will understand the relationship between pitch or range and the use of one or another register, depending on the age and gender of the singers. In relation to academic singing, the following scheme is proposed.

From fa-sol of the small octave to re-mi of the first, but not higher - “chest” mode;

From mi-fa first to la-si second - “falsetto” mode;

From la-si second to mi-fa third and higher - there may be a “whistle” mode, but this is a solo option.

Regardless of the type (bass, baritone, tenor), the entire range used in modern choral and solo singing (approximately from C major to C second octave in real sound) is performed in the “chest” mode in its various modifications, called differently in different schools, traditions and systems;

Regardless of the natural voice type, a male vocalist can use the “falsetto” mode as the main working mode for singing according to the female soprano and mezzo-soprano model. Such a voice is called “male soprano”, “male mezzo-soprano” or “countertenor”. The range and inclusion of the “chest” and “falsetto” modes completely coincides with the female model of academic singing.

The second indicator, formulated as active phonation exhalation , to a first approximation, relates to the pitch strength or, scientifically speaking, the “sound pressure intensity”, which is subjectively perceived as loudness.

The strength of tone is directly related to the strength of subglottic pressure, or, more simply, to the force of exhalation. It is true that a more precise phenomenon has been established, but less known: for the same vocalist, the quality of the singing tone is higher, the more air passes through his larynx per unit of time and, consequently, the higher the speed of air flow. How to develop this exhalation, what and how you can learn in this process will be discussed in detail.

Singing vibrato and even more so, its control is the most forbidden “zone” in singing pedagogy and is considered something unknowable. At the same time, in instrumental pedagogy on a number of instruments, the development of vibrato, although sometimes under other names, for example, “vibration” in bowed strings, is necessarily included in the program of certain stages of training.

For a professional vocalist, the question of his coloristic capabilities and timbre compliance with different styles is largely determined by the ability to regulate the frequency and amplitude of vibrato, making the voice more or less the same in timbre with different instruments or, conversely, clearly standing out.

The decisive indicator that distinguishes academic vocalists from singers of other, non-academic genres is a special specific form of the oropharyngeal horn, expressed in a special specific way of forming vowels and a special way of pronouncing consonants.

Recognition of vocal speech in academic singing occurs according to laws that differ significantly from the laws of recognition of ordinary colloquial speech and non-academic genres of singing.

The most difficult task of teaching singing is to find the finest balance between the “unnatural”, in principle, form of vowels in academic singing and the need to make this unnaturalness invisible to the listener, to make it perceived as natural. “Art is being skilled at artificiality.” This aphorism defines the task of academic vocals as accurately as possible.

There is always a chance that this text will be read:
- those who are unfamiliar with the name and activities of the author,
- those who are not specialists in this field,
- those whose views on the subject under discussion are opposite,
— by those who came across this page by chance.
I address these readers first of all. Despite the free presentation, this text is in no way fiction or popular science literature. Everything that is written below may be of interest to specialists whose activities are in one way or another connected with voice, speech, singing, including in the aspect of perception of voice, speech and singing. Interested disciplines: choral conducting, vocal pedagogy, stage speech, oratory, phonopedia, speech therapy, deaf pedagogy, phonetics, linguistics, bioacoustics. But! “May be of interest” does not mean “Addressed”!
Text address: choirmasters, music teachers, music teachers of preschool institutions, vocal teachers, singers.
But that's not all. In the above professions there are specialists from different schools, directions and traditions. Therefore, the address is even more accurate. The author of the proposed work has conducted hundreds of seminars in more than eighty cities. Deeply respecting the work of those who studied at these seminars and, as a result of this training, decided to apply the “Phonopedic Method of Voice Development” (hereinafter referred to as FMDV), the author developed the proposed text for his listeners and, above all, for them.

This narrow address and this limitation of the intended audience is dictated by the practical focus and genre of what follows. This is a textbook, a methodological development for practicing teachers involved in voice development (in any aspect, for any purpose). For the most part, these are teachers who work with children and at the mass level, i.e. with choirs.
The exact addressing of the text is associated with the peculiarities of presentation from the point of view of science. This is not a monograph or a dissertation, where each thesis must be supported by a reference to scientific literature, theoretically justified, experimentally confirmed and documented. In the genre of methodological development, the author does not consider it necessary to argue in detail for each step, therefore, for readers with a critical orientation and a scientific mindset, there is either no field of activity, or it is limitless, because every proposal can be challenged.
Practical teachers are not interested in theoretical constructions and mutual criticism, but in the result of using FMRG and ways to achieve it. During the period when specialists became familiar with the method, the author had to devote most of his time and space in publications and seminars to justifying the new point of view and the right to exist of the method. Now the best justification for the method is its widespread use and the results that experts know about. And scientific discussions and mutual criticism of literary methodologists have a place at scientific conferences and in scientific journals.
Next, I move on to a first-person account: it is easier to write and read, and more responsible, in contrast to the faceless “the author believes” when it is not clear who is writing; or from the faceless “we” accepted in science, behind which there is no one except the author, pretending to be a powerful team of scientists.
Having addressed myself above to those who do not need to read, I am now addressing those for whom I am writing. I am writing with one purpose: to make your work easier, to make everything you do clearer.
I clearly imagine how difficult it is to use what I offer, that I do not make the life of a choirmaster and vocal teacher, and especially a music teacher, easier, but complicate it. What to do! Of course, the traditional approach, daily inspired improvisation is easier and more enjoyable, but, unfortunately, it is ineffective even for the most talented and experienced of you. This is probably why it was the most talented and experienced who were the first to take up the “FMRG”, the first to achieve results, and they were the first propagandists. My gratitude and love to all of them, my deepest bow. I don’t list them by name, because I’m not writing memoirs.

Now we can say that since 1984, an informal association of conductors-choirmasters, music teachers, preschool teachers and vocal teachers has emerged, using the FMRG in their work and exchanging experiences at relevant seminars.
The method is gradually becoming “official”, because it is taught in a number of secondary and higher educational institutions, term papers and theses are written on it, and speeches are made at scientific conferences. Whether this is good or bad - the future will show.
Groups and soloists trained at FMRG perform at competitions, receive prizes, enter schools and conservatories, and move on to professional work. This requires comprehension and development of a point of view, for example, on competitions and shows in general.
Specialists who use the phonopedic method have accumulated many questions, and it would take too much time to answer everyone in person at seminars.
Main questions:
— having mastered 1 set of FMRG exercises, children (adults) began to sound; what's next? — how to transfer the sound that emerged during the exercises to the works?
— how to sing the 2nd set of FMRG exercises?
— how to compare the development of singers in a group with the individual?
— how not to conflict with the age and gender psychology of singers and diversify your musical needs?
— how to convince colleagues who have a different point of view?
— What should administrators answer to puzzling questions?
— there was a children’s choir, the boys have grown up, mutated, but they want to sing, the choir is turning into a mixed one, what should we do?
— the studio has gained authority, there are more people willing to learn than there are opportunities to teach, how to select children?
- how to sing in Latin and Italian without knowing them, but without phonetic lapses? Etc. etc. This is where the need for a new edition of the methodological development of the FMRG comes from.
Let me remind you in what capacity I work at seminars and write this text. As a methodologist. In my understanding, a methodologist is a scientist who takes on the function of connecting theory and practice. The methodologist must have a good knowledge of the problems of practitioners and the languages ​​of science. Sciences obtain new knowledge and describe it in different languages, usually inaccessible to practitioners. Or practitioners do not have access to scientific information for organizational reasons. The methodologist collects scientific information on the problems of practitioners, translates it into a publicly accessible language, formalizes it in the form of a working algorithm and trains practitioners to use it. Then it summarizes the experience of using the algorithm and derives new questions and needs for practitioners. Here is the cycle of work of a methodologist.

Therefore, critical reader, just in case, be careful! I do not provide justifications, which means that by criticizing any of my methods and recommendations (just think, Emelyanov!), you can find yourself in a stupid position by criticizing not me, but the conclusions of an international phoniatric conference or the results of research by a major scientist with a world-renowned reputation. name.
I really hope that I will write something like “Lectures on an introduction to FMRG”, where I will provide all the justifications, all the literature used, the entire scientific arsenal, and I will be glad to hear and read any criticism at any level. This is why lectures will be written. For now, a list of publications is produced at the end of this text. They are the target of all critical weapons.
There is not a seminar without me asking myself the question: by what right did I come out to teach you? I’m asking it now. I can answer only one thing: “You yourself gave me this right. You called me from the Novosibirsk phoniatric office, where for thirteen years I had been figuring out how to help those who were losing their voices and those who had lost their voices. You called me from the stage of the Novosibirsk operetta, where for thirteen years I suffered myself and tormented the audience, trying to learn acting and singing right on stage.”
You encouraged me to take up writing so-called “business prose.” So I’m writing! And I am a happy author - because I know those for whom I write, I know that they will read and will work. And I am a happy person, because happiness is measured by the quality and quantity of human relationships, and I have so many friends across the country! You called me to this ministry.
You have been called - so be patient!

→ For teachers

Emelyanov V.V. “Phonopedic method of voice development”

Emelyanov Viktor Vadimovich (Moscow, Russia) – Associate Professor, consultant on voice control and development of the vocal apparatus, teacher, candidate of pedagogical sciences, researcher, author of the training program “Phonopedic method of voice development”

The author of the phonopedic method of voice development is Viktor Vadimovich Emelyanov (candidate of pedagogical sciences, associate professor, head of the department of music education at Tyumen State University).

In the past, a professional vocalist and actor, he had to see from his own experience how important it is to have a healthy and developed vocal apparatus, how important it is to be able to control it correctly. He developed a unique pedagogical technology for developing the voice, expanding its capabilities, mastering various singing techniques, incl. creaking, nasal sonant, throat singing, etc.

The phonopedic method of voice development (FMDV) is a multi-level training program establishing coordination and effective training of the human vocal apparatus to solve speech and singing problems with consistently high aesthetic quality. The method is called phonopedic due to its restorative, preventive and developmental orientation.

FMRG has been successfully tested both abroad and in Russia. Excellent results were achieved in children with a wide variety of vocal abilities and training, thanks to which the method received recognition both among vocal specialists and among phoniatricians. Emelyanov’s FMRG has been effectively used for about 30 years at all levels - from kindergarten to conservatories and opera houses.

In FMRG, every step, every sound is justified. The method allows you to improve your voice in relation to each individual case, individually for each student, taking into account his natural characteristics. The development of the muscles involved in sound production allows us to resolve problems even with injured voices and vocal apparatuses with various defects. Not a single sound in the singing of FMRG exercises arises just like that. This is always some special “non-singing” and/or non-speech position or action of the voice-forming system, which can have a coordinating and training significance for our voice.

The “phonopedic method of voice development,” in turn, is aimed at improving the health of the vocal apparatus and prolonging its service. It helps improve a person’s psycho-emotional background, development and harmonization of personality. An important feature of the method is the development of the student’s ability for self-analysis and self-control, monitoring progress in his own learning. The vocalist gains the ability to understand his own perceptions, i.e. listen and hear yourself correctly.

Educational voice games involve the creation of play situations in which children easily restore the natural manifestations of the vocal function: express emotions outside and independently of any aesthetics and traditions. In the game, children discover the capabilities of their voice and learn to control it, turning on the body's energy resources. It is known that singing loudly is easier than singing quietly. This is natural: any coordination is mastered from a coarser level to a more subtle one. In shooting, for example, you cannot immediately hit the top ten; first you need to learn how to hit at least the board on which the target is located! It’s the same in singing: if a child can first scream and then squeak, and at the same time realizes that these are different mechanics, this is the path to intonation.

These features form the basis of the FMRG.

Intonation-phonetic exercises that do not require high energy consumption. All work should be done at the energy level of everyday speech.

1st cycle: Articulation gymnastics

1. Lightly bite the tip of your tongue with your teeth.
2. Lightly biting the entire surface of the tongue, stick it forward and retract it back.
3. Chew your tongue alternately with your left and right side teeth with your mouth closed.
4. Run your tongue in a circular motion between your lips and teeth with your mouth closed, first in one direction, then in the other, as if cleaning your teeth.
5. Place your sharp tongue alternately on the upper and lower lips, right and left cheeks, as if piercing them through.
6. Click your tongue, changing the volume of your mouth so that the pitch of the click changes. (Game task: horses of different sizes clatter their hooves in different ways. Big ones - slowly and low, small ponies - fast and high. Build pitch unison and two-voice).
7. Bite alternately the upper and lower lips along the entire length from corner to corner.
8. Stretch your cheeks, bite them from the inside with your side teeth and smack loudly.
9. Protrude and turn out the lower lip, exposing the lower teeth and gums and giving the face an offended expression.
10. Raise your upper lip, exposing your upper teeth and gums and giving your face a happy expression.
11. Alternate the two previous movements at an accelerating pace.
12. Squint your eyes, leaving narrow slits, and then open them wide. Touch the muscles under the eyes with your index fingers and feel the work of these muscles with your fingers.
13. Squint your eyes alternately (wink).
14. Touch the muscles under the eyes with your index fingers and feel the work of these muscles with your fingers.
15. Wrinkle the bridge of your nose strongly and relax it. Touch the bridge of your nose with your index fingers and feel the muscles working with your fingers.
16. Wrinkling the bridge of your nose, open your eyes wide and raise the muscles under your eyes and eyebrows.
17. Using the fingertips of both hands, pressing and shifting the skin (do not rub!), massage your face from top to bottom.
18. Using the fingertips of both hands, vigorously tapping, massage your face until it “lights up.”
19. Place your fingers on the maxillotemporal joints (“locks”) and massage them in a circular motion, opening and closing your mouth
20. Starting position: take your right elbow with your left hand, clench your right hand into a fist and place your thumb under your chin (“Place your chin on your fist”). Move the lower jaw forward and put it back in place.
21. I.P. : Same. Move the lower jaw forward and return to I.P.
22. I.P. Same. Move your lower jaw forward and open your mouth by moving your nose upward, without lifting your chin from your fist and your left arm from your body.
23. I.P. Same. Move the lower jaw forward, protrude the lower lip and open the mouth with a forward-upward movement, without opening the chin from the fist, as in the previous task.
24. I.P. Same. Move the lower jaw forward, protrude the lower lip, raise the upper one and open the mouth upward, as in the previous task.
25. I.P. Same. Move the lower jaw forward, protrude the lower lip, raise the upper lip, wrinkle the bridge of the nose and lift the muscles under the eyes, open the mouth in a circular upward motion, as in the previous task.
26. I.P. Same. Move the lower jaw forward, protrude the lower lip, raise the upper lip, wrinkle the bridge of the nose, raise the muscles under the eyes, open the eyes wide and raise the eyebrows, open the mouth in a circular upward motion, as in the previous task.
27. Having completed the previous task once, and without changing the position of the articulatory organs, remove the fist and put your head straight, looking ahead. In this position, make four movements with your tongue back and forth, sliding along the upper lateral teeth. The jaws and lips are motionless. Breathe calmly and silently, without holding your breath.

2nd cycle: intonation-phonetic exercises

No. 1. “Cat” (stro-bass)

The cat jumped onto my lap

Rumbling loudly, lounging in laziness.

I carefully scratch behind my ear,

I affectionately stroke the rumbling belly.

No. 2. “A Scary Tale”

No. 3. “Moaning”

Abstract version:

xxxA, xxxAO, xxxAOU, xxxAOU

xxxA, xxxAE, xxxAEE, xxxAEE

No. 4. “Beggar”

Specific option:

walks, walks around GANG,

x x x x x x

asks, asks for more GAN.

x x x x x x

give it, give it a try SHAIKE,

x x x x x x

everything he asks for GANG!

No. 4. "Questions - Answers"

Abstract version:

y? u o? u huh? oh eh? and y? uh s? s

U U U O O A A E E Y Y Y Y

"Giraffe"

Specific option:

GIRAFFE HAS A QUESTION?

WHY IS HIGH ROOST?

VISIBLE FROM THIS HEIGHT

ALL WHO ARE HIDING IN THE BUSHES!

No. 5. “Brontosaurus”

Abstract version:

Uh! Uh! Uh! Uh! Uh!

UO UOA UOAE UOAEE XXX

Y! Y! Y! Y! Y!

Y YE YEA YEAO YEAOU XXX

Specific option:

ABOUT THERE WALKS IN THE SWAMP XXX

OGI LIKE A BEHEMOTH XXX

TIN ON LONG NECK XXX

THE OST BEHIND HIM IS EVEN LONGER XXX

No. 6. “Behemoth”

The hippopotamus sleeps sweetly in his bed – [XP], [XP]

He sees carrots and compote in a dream - [XP], [XP]

He sleeps with his mouth wide open - [ХР], [ХР]

No. 7. “Winnie the Pooh and Piglet”

Winnie the Pooh- sound on inhalation in falsetto mode in low tessitura, on exhalation in the chest: A- A

Piglet- sound on inhalation and exhalation in falsetto mode in high tessitura: ah-ah

No. 8. “Lip Vibrant”

(R) - MOTORS EARNED - (R)Y

(R) - WE GO TO THE MOUNTAINS BY CAR - (R)Y

(R) - RETURNING FROM THE MOUNTAIN - (R)Y

(R) - DRIVING INTO THE YARDS - (R)Y

No. 9. “Blowing”

(U) - THE WIND HOWLS - (U)

(U) - THE SONG SINGS ITS OWN - (U)

(U) - YOU ARE NOT AFRAID CHILDREN - (U)

(U) - MY SONG - (U)

No. 10. “Elephant”

The elephant walked around the yard -[n],[n], [n],[n]

The elephant moved its trunk- [n],[n], [n],[n]

We'll go after the elephant -[n],[n], [n],[n]

No. 1. “Bukvoezhka”

1) Warm your hands with your breath.

2) Transform the silent exhalation into a hiss in the throat – h.

3) [A]h [A]h [A]h [A]h

4) [A]h [A]A [A]h [A]A [A]h [A]A

5) “Wave”: x x x A x x x A x x x A x x x

6) "From a Whisper to a Scream": 1-10 (P mf f ff)

7) "Scream"

One, two,…. TEN!!!

Whisper... shout

8) "Scream - howl"

9) "Wave" with a howl":

X x x A x x x A x x x A P P x x x

10) "Scream - howl - squeal":

11) “Wave” with “Seagull Cry”:

A![A]a![A]a![A]a!

x x x A x x x A x x x A P P

No. 3. “Song about laughter”

This is a song about laughter - (G)A(G)A (G)A(G)A (G)A(G)A (G)A

We sing it for everyone - (G)A(G)A (G)A(G)A (G)A(G)A (G)A

That's how little bear cubs laugh - (G)A(G)A (G)A(G)A (G)A(G)A (G)A

And tiger cubs and elephant cubs - (G)A(G)A (G)A(G)A (G)A(G)A (G)A

They all laugh in a deep voice - (G)A(G)A (G)A(G)A G)A(G)A (G)A

Everything around is thundering, roaring - (G)A(G)A G)A(G)A (G)A(G)A (G)A

This is a song about laughter - (g)a(g)a (g)a(g)a (g)a(g)a (g)a

We sing it for everyone - (g)a(g)a (g)a(g)a (g)a(g)a (g)a

This is how little frogs laugh - (g)a(g)a (g)a(g)a (g)a(g)a (g)a

And chickens and little mice - (g)a(g)a (g)a(g)a (g)a(g)a (g)a

They laugh thinly - (g)a(g)a (g)a(g)a (g)a(g)a (g)a

Everything around is whistling, chirping - (g)a(g)a (g)a(g)a (g)a(g)a (g)a

Emelyanov Viktor Vadimovich is the author of a phonopedic method of voice development (candidate of pedagogical sciences, associate professor, head of the department of music education at Tyumen State University).

In the past, as a professional vocalist and actor, he had to see from his own experience how important it is to have a healthy and developed vocal apparatus, how important it is to be able to control it correctly. He developed a unique pedagogical technology for developing the voice, expanding its capabilities, mastering various singing techniques, incl. creaking, nasal sonant, throat singing, etc.

The phonopedic method of voice development (FMDV) is a multi-level training program establishing coordination and effective training of the human vocal apparatus to solve speech and singing problems with consistently high aesthetic quality. The method is called phonopedic due to its restorative, preventive and developmental orientation.

In FMRG, every step, every sound is justified. The method allows you to improve your voice in relation to each individual case, individually for each student, taking into account his natural characteristics. The development of the muscles involved in sound production allows us to resolve problems even with injured voices and vocal apparatuses with various defects. Not a single sound in the singing of FMRG exercises arises just like that. It's always something special "non-singing" and/or non-speech position or actionvoice-forming system, which can have a coordinating and training significance for our voice.

The “phonopedic method of voice development,” in turn, is aimed at improving the health of the vocal apparatus and prolonging its service. It helps improve a person’s psycho-emotional background, development and harmonization of personality. An important feature of the method is the development of the student’s ability for self-analysis and self-control, monitoring progress in his own learning. The vocalist gains the ability to understand his own perceptions, i.e. listen and hear yourself correctly.

Educational voice games involve the creation of play situations in which children easily restore the natural manifestations of the vocal function: express emotions outside and independently of any aesthetics and traditions. In the game, children discover the capabilities of their voice and learn to control it, turning on the body's energy resources. It is known that singing loudly is easier than singing quietly. This is natural: any coordination is mastered from a coarser level to a more subtle one. In shooting, for example, you cannot immediately hit the top ten; first you need to learn how to hit at least the board on which the target is located! It’s the same in singing: if a child can first scream and then squeak, and at the same time realizes that these are different mechanics, this is the path to intonation. These features form the basis of the FMRG. Intonation-phonetic exercises that do not require high energy consumption. All work should be done at the energy level of everyday speech.

No. 1 “Shtro-bass” (“Cat-vorkot”)

Exercise: You need to pronounce a poetic text with a rumbling sound without the appearance of a fixed pitch. The arms, bent at the elbows, are parallel to the floor at waist level, palms down: the fingers make chaotic oscillatory movements, conveying general relaxation.

Reception: Unusual movement.

Indicators: Voluntary activation and awareness of the operating mode of the larynx - stroh-bass-register - vibrant of the vocal folds.

Control: Auditory – the sound of only the stroh-bass register; symbolic actions - accompanying the pronunciation of the text with the work of the fingers.

Additional Impact: Targeting chest vibration sensations; mastering the equal volume of vowels.

The cat jumped onto my lap

Rumbling loudly, lounging in laziness.

I carefully scratch behind my ear,

I affectionately stroke the rumbling belly.

No. 2 “A Scary Tale”

Starting position (IP): The mouth is open freely, lips are relaxed. The fingers are placed on the cheeks and pushed between the upper and lower teeth to prevent the mouth from closing. Eyes wide open, eyebrows raised; the facial expression is frightened.

Exercise: Pronounce a sequence of vowels in a quiet, low voice, giving it the emotional connotation of fear. Vowels are included in the work one by one, gradually arriving at the sequence “UOAEA” that is optimal in terms of phonetic proximity. The translation of vowel into vowel occurs without an attack, seamlessly, similar to the connection of vowels in Legato in singing.

In the abstract and concrete versions (poetic text), the exercises involve the fingers continuing to control the distances between the teeth through the relaxed cheek muscles, despite the illegibility of the text.

It is possible to combine abstract and concrete options, for example: teacher -"Listen…", children- “U” and vice versa.

Indicators: Voluntary activation and awareness of the thoracic mode of operation of the larynx - the “thick” voice; specific horn shape.

Control: Auditory – quiet low sound without forcing A-SI SMALL OCTAVE; visual - pronouncing vowels without the participation of lips and jaw; despite the illegibility of the poetic text.

Additional impact: Mastering the optimal vowel sequence - phonetic formula, which, appearing for the first time in this exercise, will be constantly used in exercises at all levels of the FMRG.

Abstract version: Specific option:

U SL U SHAY...

UO SL U SHAY SH ABOUT ROH...

UOA SL U SHAY SH ABOUT ROH H A SCH...

UOAE SL U SHAY SH ABOUT ROH H A SCHI L E SA...

UOAEE SL U SHAY SH ABOUT ROH: H A SCHI L E GARDEN Y SHIT.

No. 3 “Konyuchim” (“Beggar”)

I.P.: The facial muscles are relaxed, the mouth is slightly closed. The facial expression is half-asleep, the eyes are closed. Arms, elbows bent, are parallel to the floor at waist level, palms down.

Exercise: 1) In the abstract version of the exercise, transfer the stro-bass to chest mode on sequences of vowels, gradually included in the work. Then, sequentially combine three modes in one movement: stroh-bass, chest, falsetto. The stro-bass is switched to chest mode without interruption, additional attack or aspiration. It is necessary to maintain the position of the tongue on the lip in chest mode. It is necessary to produce a stro-bass and switch to the chest mode on the pure vowel “A”, although the position of the tongue prevents this and provokes the open vowel “E”. The articulation of the vowels “AOU” is carried out only through the movement of the lips without the participation of the jaw, without covering the teeth and gums (the lips “hug” the tongue). Articulation of the vowels “AEY” should be done only by raising the back of the tongue while the front part, jaw and lips are stationary and relaxed.

The translation of the chest mode into falsetto occurs on an ascending gliding intonation with the threshold triggered. Make sure that the vowels “u” and “y” in falsetto mode maintain the shape organized in the chest, controlling it with your fingers (pierce the cheeks) or looking in the mirror.

On the stro-bass, make chaotic oscillatory movements with your fingers, turn your palms up when the sound is in chest mode, and during rising intonation, wave your hands, showing the upward movement of the sound.

The situation can serve as an emotional-imaginative task for children “persistent and hopeless asking for something and a joyful exclamation (transition to falsetto mode) when getting what you want.”

2) In a specific version (a fragment of a poem by S.Ya. Marshak), pronounce the poetic text in a stro-bass, transferring it to the chest mode on the last two syllables of each line The symbolic actions are the same.

Reception: Additional mode of operation of the larynx (stro-bass to chest, chest to falsetto); unusual movement.

Control: Visual, tactile – “camouflage” articulation, tongue position throughout the exercise; auditory – the exact form of the vowel “A” on the stro-bass, the threshold is triggered and the falsetto mode is entered. Exit to chest mode in an abstract version according to the recording; symbolic actions.

Additional impact: mastering the phonetic formula; threshold as a mechanism of self-regulation in the emergence of a new regime; equal volume of vowels.

Abstract version, where “xxx” is a stro-bass:

xxxA, xxxAO, xxxAOU, xxxAOU

xxxA, xxxAE, xxxAEE, xxxAEE

Specific option:

walks, walks around GANG,

x x x x x x

asks, asks for more GAN.

x x x x x x

give it, give it a try SHAIKE,

x x x x x x

everything he asks for GANG!

x x x x x x

No. 4 “Questions and answers”

Starting positionTo ak in No. 2

Quests: 1) In the abstract version, the main element of the exercise is sliding (gliding) ascending and descending intonations with a sharp transition from chest to falsetto mode and back with threshold activation. It is recommended to organize the game in the form of a dialogue. Emotionally, the exercise contains a question (rising intonation) and an answer (descending intonation). Use your fingers to control the distance between the teeth through relaxed cheek muscles.

2) In a specific version, pronounce the poetic text in chest mode, switching to falsetto on the vowel of the last syllable of each line (Attention to writing with symbols!).

Symbolic actions:

• To maintain the vowel shape in falsetto mode, organized in the chest, during rising intonation, control it with your fingers (pierce the cheeks);
• To establish a connection between voice-forming movements and pitch, use your free hands, relaxed to the hands, to show the movement of the ascending intonation of the voice, throwing your arms high up. In a specific version, in chest mode, make wave-like movements up and down with your hands (“we touch the “thick” voice lyingvery low") or right-left (“we stroke the thick voice”), translating them into vibrations of the fingers on the stro-bass.

The transfer of the sound from the chest mode to the falsetto mode should occur without interruption in sound, without additional attack or aspiration with threshold activation during rising and falling intonations.

Indicators: Appropriate use of operating modes of the larynx; specific horn shape.

Control: Visual, tactile – “camouflage” articulation; auditory – threshold triggering, entering falsetto mode on ascending intonation and returning to chest mode on descending intonation; symbolic actions.

Additional impact: Mastering the phonetic formula; threshold as a trigger for self-regulation in the emergence of a new regime.

Abstract version:

y? u o? u huh? oh eh? and y? uh s? s

U U U O O A A E E Y Y Y Y

Specific option:

No. 5 "Brontosaurus"

The exercise consists of a sequence of sounds that is the reverse of the previous exercise. The purpose of the exercise is to establish a connection between voice-forming movements and volumetric-spatial concepts.

Exercise: 1) In the abstract version, make a light, high-pitched “thin” sound (“u” or “y”) in falsetto mode, and through a descending glide intonation, transfer it to the chest mode on the same vowel. In chest mode, vowels are arranged in a familiar sequence with the transfer of the last vowel (“ы” or “у”) into a stro-bass with relaxation of the tongue. The exercise begins with the appearance of one vowel in the chest mode, with the gradual addition of other vowels one at a time with a gradual decrease in intonation and an increase in tone strength. All vowel connections occur without interruption, together, in a sing-song manner.

The emotional-figurative task of this exercise will be to ask you to draw brontosauruses in the voice ( "boy" - u-UOAEE and "girl"- ы-ИЭАУУ) using pitch (modes), vowel sequence, sound strength.

2) In a specific version, the pronunciation of a poetic text begins with the utterance of the first word/syllable in a high, thin voice, followed by its translation on the same word/syllable into the chest mode with a descending slanting intonation with a threshold triggered. Each line ends with a stro-bass on the vowel “A” with the tongue relaxed.

Symbolic actions are the same as in the previous exercise, but showing the pitch from top to bottom - in the falsetto mode, throw an imaginary “thin” voice high up, and in the chest mode, put the “thick voice on the floor.

Indicators: It is advisable to use the operating modes of the larynx.

Control: Auditory – triggering of the threshold and entering the chest mode with descending intonation; visual and tactile – maintaining the shape of the mouth during the transition from falsetto to chest mode; position of the tongue on the stro-bass; symbolic actions.

Additional impact: Mastering the phonetic formula; threshold as a trigger for self-regulation in the emergence of a new regime; mastering the indicators of aesthetics of academic singing; equal volume of vowels.

Abstract version:

Uh! Uh! Uh! Uh! Uh!

UO UOA UOAE UOAEE XXX

Y! Y! Y! Y! Y!

Y YE YEA YEAO YEAOU XXX

Specific option: