RU2202831C2 - Method teaching resonance singing and set of instrument for its realization - Google Patents

Abstract

FIELD: resonance signing. SUBSTANCE: resonance focusing of sound emission is formed by way of gradual mastering individual vocal elements and mechanisms with the aid of two articulation apparatuses. One of them is voice and the other one are arms which hands model resonance motions of muscles of mouth cavity. Method includes propaedeutic stage during which resonance motions of vocal apparatus are formed with the help of two above-mentioned articulation apparatuses. Set of instruments to teach resonance singing is characterized by its realization in the form of beads of different sizes. Student taught resonance singing executes certain motions with beads using his ( her ) fingers and hands at various stages of mastering individual vocal elements and mechanisms to raise quality of teaching. EFFECT: raised quality of teaching. 21 cl, 12 dwg

Description

 The invention relates to teaching aids and can be used for professional production of the technique of speech and singing voices of any person, regardless of his vocal talent and the development of performing abilities.

 The resonant theory of singing is known, which scientifically substantiates all the components of the process of resonant sound formation (VP Morozov. Scientific foundations of vocal art: resonant theory of singing. Lecture course for vocalists, choir conductors, musicologists, graduate students, applicants, interns. Moscow, 1999), according to which the formulation of the resonant singing technique depends on the formation of the resonant acoustics of the singing apparatus. The main difference between the resonant theory of singing and the widespread notions and theories is that the source of the strength and beauty of the singing voice is transferred from the larynx to the area of singing voice resonators, specially organized and tuned. Vocal cords (folds), due to their small size and inconsistency with the external acoustic environment, cannot be considered effective sources of singing voice, therefore they play the role of only causative agents of acoustic vibrations in the system of singing resonators. The dominant role of singing resonators is manifested in the strongest inverse effect of acoustic resonance on the nature of the vibrations of the vocal cords. Correctly organized resonators enhance the high-frequency overtones that appear in the glottis, which give the voice such an important professional quality as sonority, which means flight, and make up the area of the so-called high singing formant.

 However, the resonant theory of singing, based on the results of scientific research, can be used for practical voice staging only as purely theoretical information.

 The present invention is based on the task of developing a method for teaching resonant singing and tools for its implementation, providing the formation in practice of vocal giftedness to each person who does not have it by nature, by creating a resonant impedance of the vocal apparatus.

 The problem is solved in that in the method of teaching resonant singing based on the formation of the resonant acoustics of the vocal apparatus according to the invention, resonant focusing of sound production is formed by stage-by-stage working out of individual vocal elements and mechanisms using two articulators, one of which is the voice and the other hand, hand which simulate the resonant movements of the muscles of the oral cavity, invisible and uncontrolled by the human mind, including the propaedeutic stage, during which they form the resonant movements of the vocal apparatus using these two articulators in a primary speech tone and form spatial sensations using hand movements simulating the position of the upper lip when pronouncing sounds, the speech stage, which includes the phased process of the formation of resonant extraction of consonants and vowels by concentrating sound exhalation to a point masks, located in the roots of the upper incisors, the implementation of a set of exercises for practicing consonants in speech, contributes to their restoration of coordination and a combination of sensations and movements of general plastics, general sound plastic, resonant movements of the vocal apparatus, the development of imagination and the creation of an image using resonantly focused consonant sounds for them, the formation of a resonant technique for pronouncing syllables on individual words and the formation of resonant passive speech technique with technical reading, consisting in pronouncing texts at a fast pace on the primary sound of speech, and expressive reading, consisting in pronouncing texts using expressive intonation, while maintaining resonant sound extraction, and the vocal stage, including performing a set of exercises aimed at practicing resonant extraction and forming vowel sounds by combining a complex of movements of general plastic, sound plastic with resonant movements of the vocal apparatus and the performance of figurative etudes, element-by-element practicing movements that provide a natural transition from speech to singing with the inclusion of expressive intonation, the formation of a syllable of onance vocal technique when intoning reference vowels in words synonyms and antonyms using glissandos for intonation differences and the formation of resonant passive singing technique with the simultaneous development of musical and vocal hearing, including learning at least one melody with palm-tone gestures, combining them with gestures that simulate two singing mode, first on one sound of the first stage of the fret, then on the next third and fifth stable stages of the fret as far as possible, then they complete all intermediate steps in a row, gradually expanding the range down to an octave, using modeling and control gestures, and after learning each melody in the indicated order, it is performed with the text while maintaining resonant extraction and sound formation and, in addition, at different stages of working out individual vocal elements and mechanisms use tools made in the form of beads of different sizes, with which the student with his fingers and hand makes certain movements in which sensations, fuss digits together, depending on the nature, pace and shape, reflexively transferred to the movements of the vocal apparatus.

 It is preferable to start practicing the production of resonant movements of the vocal apparatus on a primary speech tone when pronouncing the reference consonant “eh” and the consonants similar to it in the type of sound extraction, and then all other sounds.

 At the preparatory stage, all hand movements simulating the position of the upper lip when pronouncing sounds are carried out first at a slow and then gradually at a faster pace, moving from a large bead to a smaller one.

 Focusing the consonants and vowels by concentrating the sound of exhalation at the point of the mask located in the roots of the upper incisors is worked out first on the primary speech tone, and then on the sounds of the primary speech range, using an exercise in which the third finger of the right hand is placed in a notch above the upper lip , and the thumb is positioned so that it abuts the middle phalanx of the specified third finger.

 When learning a melody using steps of a fret, the location of a fret step is indicated by certain positions of the singing hands at the corresponding points of his body and head, and singing modes are modeled by the position of the wrists.

 When performing a set of exercises aimed at practicing resonant extraction and the formation of vowels, the necessary body positions and movements of the arms and body are used.

 When teaching adults in the process of learning melodies, a set of articulatory, palm-tonal, high-altitude, controlling and controlling gestures is used as modeling gestures, and when teaching children a set of palm-tonal, high-altitude, controlling and controlling gestures is used.

 When playing melodies with text, they also work out quick reading of the text in primary tone at different rates using tools and modeling hand gestures with the inclusion of two pronunciation modes and a general supporting shaking movement.

 At each stage of practicing individual vocal elements and mechanisms, a didactic repertoire for children or adults is used, which can be presented on video / audio tapes.

 At each stage of practicing individual vocal elements and mechanisms, developing intonational exercises are performed, aimed at developing the sense of image, form, and also designed to develop and control the timbre of the voice or to master the paradoxical and synchronous movement based on sensation.

 The problem is also solved by the fact that the instrumentation for teaching resonant singing according to the invention is made in the form of beads of different sizes, with which the student at certain stages of practicing individual vocal elements and mechanisms makes certain movements with his fingers and hand, in which sensations arising depending on character, pace and form, are reflexively transmitted to the movements of the vocal apparatus, while the beads are strung on a thread and are located at a distance from each other, taking into account the size of the palm the student, and the thread at one end is connected to a bracelet, which is placed on the student’s right hand, and has a length that allows each bead to be freely taken with fingers.

 The toolkit can contain two beads of a contrasting size, while a large bead is located first from the junction of the thread with the bracelet and when placed in the student’s hand, it is located on the bend of the middle and upper phalanges of the index finger, and the distance between the beads corresponds to the width of the thumbnail. In addition, the beads are separated by beads and are made of natural material, such as stone or wood, or artificial material, such as plastic.

In the future, the invention is illustrated by specific examples of its implementation and the accompanying drawings, in which:
figure 1 depicts the tools for performing certain movements with his hands at different stages of practicing vocal elements and mechanisms;
figure 2-7 - the main movements of the arms and legs, as well as the position of the body when performing vocal gymnastics exercises on the consonants;
Fig. 8 is a vocal column for children;
Fig.9 is a diagram of the formulation of the vocal mechanism;
FIG. 10-12 - the main movements of the arms and legs, as well as the position of the body when performing vocal gymnastics exercises on vowels.

 The proposed method for teaching resonant singing begins with activation of the muscles of the articulation apparatus, setting the resonant movements of the muscles involved in the formation of the resonant impedance, setting the body support, forming spatial sensations during resonant voice formation, coordinating the entire motor system of the person, the result of which is the occurrence of resonant sensations and movements and control muscles of the articulation apparatus, the resonant movements of which can be called higher movements, on the cat rye capable people.

The propaedeutic stage is initial and is designed to work with children of preschool, primary school age and students of any age who do not have vocal talent. The propaedeutic stage begins with a preparatory section, during which the correct setting of the body in singing and activation of the tone of the muscles of the upper lip and jaw, setting up resonance sensations and movements, are formed. This work begins with the preparation of the tone of the muscles of the upper lip and jaw on the consonant sound L in the speech mode of singing, which subsequently ensures the resonant sound production of the remaining sounds and consists in
- the formation of the correct sensation of the position of the upper lip - half smile (corners at the top, middle at the bottom);
- the formation of sensations of the extension of the upper jaw forward and its overhang over the floor in front of the student;
- separation of the movement of the upper lip;
- sensation of movements of the tip of the tongue, lips;
- mastering the pose of "pegs".

 In addition, in the process of general motor development and the development of special movements, students form a feeling of support for the corps - a pose of "pegs"; coordination of simple movements; a sense of balance in the process of transferring the center of gravity of the body from one leg to another; feeling of relaxation i.e. the ability to relax, alternate tension and relaxation in conjunction with two types of sound formation by two articulators.

 All resonant sensations and movements are formed with the help of two articulation devices (hands and voice), with the help of images - models performed by movements of the hands.

 To strengthen and concretize these movements, at the initial stage, use bead tools and an exercise in which the third finger of the right hand is placed in a notch above the upper lip, while the thumb rests on its middle phalanx. The sensory movements of the hands, fingers, and models of vocal sensations and the resonant movements of the internal, invisible and uncontrolled by the human mind muscles of the vocal apparatus greatly facilitate the most difficult work with the unconscious muscles of the articulation apparatus, making it understandable and accessible for students of any age.

 The tool kit contains two beads 1 and 2 (figure 1) of a contrasting size, which are strung on thread 3 and are located at a distance from each other, taking into account the size of the palm of the student. The thread 3 at one end is connected to a bracelet 4, which is placed on the student’s right hand, and has a length that allows each bead to be freely taken with fingers. The large bead 1 is located first from the junction of the thread 3 with the bracelet 4 and when placed in the palm of the hand, it is located at the bend of the upper and middle phalanges of the index finger, and the distance between the beads 1 and 2 corresponds to the width of the thumbnail. In addition, beads 1 and 2 are separated by beads 5 and are made of natural material, such as stone or wood, or artificial material, such as plastic.

 The inclusion of a student in independent vocal work from the initial stage becomes possible due to the specific visual clarity of sensory, kinesthetic and reflex sensations modeled by the hand of a hand working with a direct subject. Performing movement with specially selected objects, hands reflexively convey its character, pace, shape, size to the muscles of the articulation apparatus.

 In addition to the subject include sensations and movements with imaginary images - models. In this case, the hands themselves - fingers, palms, wrists serve as visual models of the shape of the position, the nature of the sensations of resonant movements, which are also reflexively perceived by articulatory muscles.

 As a repertoire at the preparatory stage, for example, for children, folk songs, songs, short poems, which can be the basis for exercises, can be used. The didactic repertoire for children or adults can be presented on video / audio tapes. These exercises make it possible to consistently practice the necessary sensations and skills of the resonant singing technique. As an example, below is the order of the exercise "Cockerel".

 In a conversation with children preceding the work on the exercise, the teacher draws their attention to those movements of the body, face and articulation apparatus that are associated with the technique of resonant sound focusing. He portrays the Cockerel: proudly raises his head, straightens his back, puts his shoulders back down, holds his chest high, puts his “wings-arms” on his waist and spreads his elbows wide. Particular attention is paid to the position of the middle of the upper lip, which is lowered down and covers the upper incisors, and since the Cockerel is very kind, therefore he constantly smiles and the corners of the lips are stretched and raised upwards on a natural half-smile.

 The musical director shows how the Cockerel walks: at first he stands firmly on his heel, and then on the whole foot. Saying the syllables “ko-ko-ko”, the Cockerel pecks the grains: takes a large bead 1 (for children 2-3 years old the bead is equal to a rattle ball) lying on his left palm with the whole brush (five fingers). The middle of the upper lip also contracts, repeating the movement of the fingers. A cockerel can walk, flap its wings, bounce, at the pace of singing. All these movements need to be associated with pronouncing the words “ko-ko-ko” in the middle of the upper lip.

 The image of the Cockerel helps to form in children a complex of necessary body positions and movements. The leading one is the correct setting of the body, the so-called "stab position", in which the spine has a natural position, the chest is straightened, youthful; the sternum is slightly advanced forward; shoulders straightened and laid back down; there is a feeling of support of the shoulder girdle on the sacral zone of the spine; the feeling of support of the body is freely transferred from the front of the foot to the heels and vice versa. This pose forms the basis of singing posture, determining the position of the body in the process of singing. In combination with the movements of the legs (the transfer of body weight from the heel to the foot and from foot to foot), the “pose of spikes” contributes to the sensation of motor balance necessary for the formation of general and singing plastic. The inclusion of hand movements - “wings”, which should be at the level of the shoulder girdle, helps to maintain an inhalation setting that provides an economical, extended singing exhalation. The complex of these movements contributes to the organization of singing breath. An inhalation installation is the preservation by the respiratory muscles of the inspiratory position until the end of the phonation.

 The appearance of the image of a pointed, downward beak of the Cockerel helps children to feel the movements of the middle of the upper lip and the position of its corners. The movements of the upper lip are of great importance for approximating the sound in speech and singing. The feeling in the singing of the high position of the upper jaw extended forward contributes not only to holding the speech and singing sound in front, but also to the formation of a half-open manner of singing. When performing the exercise, the sensation of movements of the beak of the Cockerel should be combined with the sensation of the position of the upper jaw.

The chin of children, imitating the movement of the chin of the Cockerel, should freely descend when pulling syllables. The image of a heavy, long, down-hanging beard. A cockerel helps a feeling of free movement of the chin down. The teacher may ask the children to help themselves lower the chin with their right hand, while they put the 2nd to 4th fingers in the notch on the chin and lower it down. You can also include other controlling gestures that help lower the lower jaw and chin, physically feel the freedom of their movements:
- the 2nd, 3rd and 4th fingers are placed on the lower teeth through the cheeks at the corners of the lips;
- hands are placed with third fingers in the dimples of the tragus ears.

 When reproducing the movements of the Cockerel, when he pecks a grain, the children perform exercises with a large bead - a “grain”. She lies on the left palm of the child. The cockerel pecks a grain (first and third fingers) on the syllables "ko-ko". The middle of the upper lip repeats this movement.

 The teacher seeks the exact combination of these movements with the pronunciation of syllables; fulfills the free movement of the chin down when pulling the syllables "ko-ko-ko".

 Thus, at this stage, the stimulation of the muscle system of the upper lip, the articulation apparatus and the setting of sensations of movements of the upper jaw are carried out. In the simulator of the muscular system include two articulators at once - the voice and hands, which significantly increases the effectiveness of this work. The use of a set of beads 1 and 2 of different sizes with which the right hand helps to facilitate understanding of the desired nature of sensation and sound movement, as well as accelerate the process of acquiring the necessary tone of the muscular system of the lips of the articulating apparatus. In the case of working with children under 4 years old, use a large bead 1 the size of a ball in a cellar. The size and nature of the sound movements of the first, second, and third fingers of the right hand are reflexively transmitted to the middle muscles of the upper lip, which are also mentally represented by the three corresponding fingers. As the beads in the fingers decrease, the sensation of sound movement of the middle muscles of the upper lip decreases, which must be minimized.

 In addition, students get an idea of the two types of sound formation and their classification into vowels and consonants. All consonants and vowels are pronounced in only two ways: when pronouncing one type of sounds, the upper lip is stretched, when pronouncing the other, it is going to. Therefore, depending on the formation of sounds by the articulation apparatus, the former are called “linear”, and the latter are called “point”. Linear sounds include almost all consonants, with the exception of M, B, P, and vowels A, E, I, E, S. Point sounds include consonants M, B, P, and vowels U, O.

 The movement of the upper lip when pronouncing any sound is modeled by the sound gestures of the hands, which are called "phoneme". They, like all sounds, are divided into two types: a wide gesture - “linear”, in which the arms are extended to the sides and serve as a continuation of the shoulder girdle, and a narrow gesture that simulates a “point” sound, in which the arms are connected in one case by the elbows and palms or otherwise wrists. Each wide or narrow movement, a pose of a person can be considered as a "phoneme" gesture. The use of “phonemic” gestures greatly facilitates the task of resonant focusing of sound at the point of the mask.

 After that, they start setting up the resonant sensations of the formation of consonant sounds. It begins with an analysis of the sound formation of the sound of the reference consonant sound L and close to it at the place of sensation of sound when pronouncing the consonants H, T, D. The tip of the tongue when pronouncing the consonant L rests on the roots of the upper incisors, i.e. to the point of the mask, where every sound of any height should be concentrated when singing. The entire muscular system of the articulation apparatus is adapted to pronounce each sound of the alphabet in the same place and in exactly the same way as in the consonant L. This means that the student must learn to speak and subsequently sing all the sounds of the alphabet as a consonant, with the same sensation and position of the upper jaw of the upper lip (the lip holds a half smile, a soundproof at the roots of the upper incisors).

 These exercises are repeated until the muscle tone of the upper lip is so trained that it can cope with the manipulations associated with the clear and distinct formation of each individual consonant and vowel sound when changing pitch and changing the pace of sound combinations in different texts. The skill must be well formed both in speech and in singing. In addition, the sound movements of the tip of the tongue should be distinguished by strong, clear mini-sound movements that are equally sharp and accurate at all sounds of any height, combination and pace, and with a single place of sound breathing - the roots of the upper incisors.

 The sensation and physical location of the sound breathing should also be very small, then it is possible to achieve the most accurate and, consequently, the highest concentration of sound, which increases its resonance quality, makes it extremely assembled, rich in high-frequency overtones that do not flow around the oral cavity, but are only carried forward due to which the voice becomes flightable and well controllable.

 The upper lip has 36 muscles, but the central muscles of the upper lip, the corners of the lips and the ends of the lips, which are involved in the pronunciation of the sound, take the most active part in the pronunciation. The work of the central muscles of the upper lip during the pronunciation of sound can be equated to the work of three fingers of the right hand - the first, second and third. The sensation of setting the upper jaw simulates the wrist of the right hand, bent tensely in the wrist and extended forward. The central muscles of the upper lip in the student’s mind are figuratively represented by the indicated three fingers of the right hand and are associated with the image of the proboscis of an elephant, a bumblebee, and the upper jaw - by the wrist of the right hand. Thus, in a figurative representation, the upper jaw and upper lip are similar in working with the sound of the right hand; lower jaw - to the left hand.

 At the initial stage of sound focusing, a primary speech tone is used, since working in this mode greatly facilitates the training of the muscular system of the upper lip and the entire articulatory apparatus, because the primary physical tone is the least physical.

 For the formation of crisp and clear vocal speech and pure intonation of the melody (vowel strait), two modes of singing are introduced - speech and vocal, which are interconnected by a vocal mechanism.

 The speech stage includes a phased process for the formation of resonant extraction of consonants and vowels. At the main stage of voice production, vocal sensations are worked out in the primary - speech register (fa-1, a la, small octave salt, individually). Subsequently, the thoracic, lower in comparison with the primary register, and only after that the falsetto and head registers are placed on the resonant basis. Thus, the general sequence of work: from the primary register - down to master the lower, thoracic register, then without any tension - up, through the falsetto (fa-1 - re-2) to the head (mi-2) and t .d.

 Work on the resonant technique of singing begins with exercises that prepare the muscles of the articulation apparatus for the element-wise development of focusing the vowel sound at the point of the mask.

 First work out the advancement of the upper jaw and the setting of the upper lip on the consonant L, which is pronounced very easily, sharply, with the tip of the tongue. At the same time, the wrist of the right hand is advanced forward - a modeling wrist gesture, while it is important to achieve the full combination of these two movements. The sound L in combination with these movements is pronounced repeatedly. This exercise activates the muscles of the upper jaw and upper lip.

 In addition, with each pronunciation of the consonant, the 1st, 2nd and 3rd fingers firmly compress the bead 1 (Fig. 1). The nature of the movement of the fingers is similar to the movements of the middle muscles of the upper lip, which compress an imaginary bead and must also be strong and tenacious. The student imagines a bead in the center of the upper lip and, as it were, embraces it with a lip, like fingers. As a student acquires a stable skill, the student moves to small bead 2, and the movements of his upper lip become smaller, thinner and more precise. This is necessary to increase the sensitivity of the lips, which are involved in the pronunciation, control and concentration of sound.

 Following the consonant L, the consonants H, T, D, and all others are included in this exercise; in the last turn, “point” consonants M, P, B. All movements are carried out first at a slow, and then gradually at a faster pace.

 After the learner activates the lip as a result of these exercises, separation and control of its movements appeared, and when pronouncing the consonants, he learned to hold the lip on a natural half-smile, and there was a sensation of the jaw extended as if forward, they proceed to the next stage of the formation of the resonance technique. At this stage, in a speech mode, they develop a single place of soundproofing for all consonants and vowels. Begin this work with consonants, and then proceed to the production of vowels.

 Focusing of all sounds is worked out first in speech, on the primary speech tone, then on the sounds of the approximate speech range. The primary speech tone is the sound that a person most often uses when pronouncing monosyllables. In children, these are most often sounds: mi, re, up to the first octave, from them down - sounds: B, B flat, for a small octave. Primary speech range - these are the tones of a speech voice, which are used in ordinary calm speech. The speech range in children most often consists of 3-4, sometimes 5 sounds (from the first octave to si, b flat, sometimes to a small octave).

 The sound focusing guide is the place touched by the tip of the tongue when pronouncing the reference consonant - the sound Л. It should be maintained at all sounds despite the fact that when pronouncing the remaining sounds, the tip of the tongue does not touch the point of the mask. Externally, this place is fixed by touching the 3rd finger of the right hand to the hollow above the upper lip. In the process, the combination of the pronunciation of the sound Л with this movement is repeated many times.

 It is this beginning of work on the singing voice that is nature-friendly and accessible to students of any age, since speech is organized naturally in each person.

 Consonant is the basis for pronouncing words. Most consonants are pronounced on the naturally extended upper lip, therefore, the wide, extended position of the upper lip, on the half-smile covering the teeth, helps to form and hold the right place for sound extraction, to move the sound forward. The development of the resonant focusing of consonant sounds of the alphabet, starting with the reference consonant L and similar to it by the type of sound production of the consonants H, T, D, occurs gradually.

 Sound is sent to the roots of the upper incisors along with an exhaled stream of air. Under these conditions, the work of the internal muscular system of the articulation apparatus forms the necessary narrow exit opening of the pre-chamber chamber into the oral cavity. The organization of a narrow exit from the pre-chamber chamber is the most important moment in the work on vocal technique: the appearance of singing resonance is associated with it. Only in resonance mode are all the necessary conditions for the natural work of the vocal cords, their development and physical health, created.

 After the precise focusing of the "linear" consonants L and T, D, H has been worked out, the formation of the resonant sound of the remaining "linear" and "point" consonants begins.

When working on the correct focusing of consonants, perform exercises of vocal gymnastics, the purpose of which is to include in this process the general plasticity of a person, which is a necessary basis, the foundation of the actual vocal plasticity - plasticity of the singing apparatus,
Figure 2-7 shows the basic movements of the arms and legs, as well as the position of the body when performing vocal gymnastics exercises on the consonants.

 Exercise "Dragonfly".

 The main movements: legs shoulder-width apart (Fig. 2), trembling hands - “wings” spread out to the sides (wide phoneme gesture). Toes Dragonfly holds on to the stalk and "shakes", rising on toes and falling on the heels. At the same time, she flutters her wings and sings her song.

 After mastering these movements, the child performs them, turning to the right and left, without bending and with bending, first on two legs, and then shifting the center of gravity to one or the other leg.

 Then the music sounds (of a different nature, more and more fast), and the Dragonfly, flying from flower to flower, reproduces the same movements.

 All subsequent vocal gymnastics exercises for consonants are built according to the same scheme, therefore only game moments and basic movements will be described in them.

 Exercise "Bug".

 The main movements: legs - "bugs legs" at shoulder width (figure 3). He clings to them by the flower. Hands at the level of the abdomen, elbows are spread apart, fingers are very extended.

 With tense hands, the bug strokes its tummy, making a sound Ж only at the moment of touch. At the same time, he makes barely noticeable twists and turns to the sides, "shakes himself", rising on his toes and falling on his heels.

 Then he "shakes off the pollen from the forelegs"; hands completely relaxed; repeatedly, at the pace of the movement of the hands, makes the sound Ж and in a light jump upwards, shakes it off simultaneously from the front and hind legs.

 Exercise "Cobra".

 The main movements: rising on toes and with a light squat, lowering to the heels (figure 4). Cobra makes spring shakes. She combines these movements with the "swaying hood": light turns and tilts of the body from side to side, reminiscent of a "lying" figure eight. A cobra sizzles at every turn, combining short movements with a clear pronunciation of the consonant Sh.

 These short movements alternate with stretching, smooth, flexible movements along the trajectory of the “lying” figure eight, which it “draws” with the whole body. At the same time, the consonant sound Ш sounds extended. The student's hands depict a hood. From time to time, the Cobra bounces high on its tail, pronouncing the consonant sound of Sh.

 Exercise "Eagle Owl".

 The main movements: Eagle owl goggles - combine this movement with the stretching of the fingers, which are at eye level with the palms forward, peering into the prey (figure 5). Then he closes his eyes (close his eyes, clench his fists), pretending to be asleep, after which he suddenly opens them wide (to open his eyes, spread out and stretch his fingers) and sharply utter a consonant sound F. At the same time, he “shakes himself”, lifting himself on his toes and falling on his heels ("swinging on a tree branch"), turns right, left, hangs on one or the other foot, shakes himself, repeats these movements many times.

 Exercise "Lion".

 The main movements: legs shoulder width apart (Fig.6). Leaning slightly forward and continuing to stretch, Leo sings loudly the consonant sound R. With open palms of his hands (fingers at the top) he “leads” this bright, sonorous, not covered sound (imagine that the sound leads to the bottom of the palm, wrist below).

 Then the palm is turned with the fingers down, the wrist at the top. The lion picks up its paws, like an excavator with a bucket. Now the sound of the consonant P is covered (a change in the manner of sound formation). The lion, rumbling, combing his mane (fingers, wrists at the top). The sound is covered.

 You should pay attention to the difference in the sound of the consonant P when changing the manner in which the sound is formed, regulated by the position of the wrists (low - open sound, high - covered).

 Exercise "Woodpeckers".

 The main movements: legs shoulder width apart (Fig. 7). “Wings” - hands on the belt, thumb in front, elbows to the sides.

 Woodpeckers nod their heads rhythmically, combining this movement with the pronunciation of the consonants T, D, H, K. Each consonant is repeated many times.

 Then the KUH syllable is pronounced with the vowel U stretched in speech mode: the woodpecker has hollowed a hole in the cortex and “dives” into it - a cantilevered forward tilt combined with the sound of the vowel U and the final tilt of the last consonant.

 The air remaining in the lungs is discharged on it. In this case, the muscles of the upper jaw should be relaxed in the same way as the upper part of the body and arm, and the vowel sound Y should be pronounced in the same place where the consonants are pronounced.

 Straighten the body, put your hands on the belt, take a breath and, stroking the stomach with your right palm, repeatedly, as long as you have enough breath, repeat “yum-yum” in the middle of your upper lip at a fast pace.

 The focus of the exercise is on maintaining a single place for resonant focusing on the consonants and the vowel Y in speech mode.

 Only after working out a single focusing place for all consonants does work on focusing the vowels begin, while maintaining the same sequence as when focusing the consonants: first work out the "linear" vowels YA, E, I, E, Y, and then "point" "OE, U-Yu. After the resonance focusing of consonants and vowels is worked out in speech, work begins on syllabic and passive (pronouncing words and phrases) with speech techniques. Its goal is the acquisition by a student of the ability to combine “linear” and “point” consonants and vowels among themselves in words and phrases, while maintaining a single soundproofing and a single formation principle.

 At this stage, vowels in combination with consonants, the speech resonant syllabic technique, are worked out successively in speech. With repeated repetition of the same consonant sound, the student, having a good sense of the place of sound production, accurately transfers the sound extraction of the vowel into it. Combinations of all consonants and vowels are practiced in this way. In this case, first syllables are spoken in a primary speech tone, including vowels I and A, then other "linear" vowels in combination with consonants L, T, D, N.

 When the student learns to master the muscles of the articulation apparatus so that the place of sound production and the pronunciation of all consonants and vowels is maintained, you can speed up the rate of their utterance in syllables and move on to passive technique - working on words and phrases in the process of reading poetry and prose.

 In the work on resonant syllable and passive techniques, beads 1 and 2 can also be used, forming lip movements from larger to smaller and gradually increasing the pronunciation rate. At a slow pace, consonants in front of the vowel are repeated many times, analyzing their sensations in order to feel as accurately as possible the place of sound production of the consonant and to “enter” it with the vowel. This process is based on a primary speech tone or in a primary speech register.

 It is very effective to use an exercise in which the 3rd finger of the right hand is placed in a recess above the upper lip. The student “collects” the sound and pronounces all the sounds into a “microphone”.

 The formation of the passenger speech technique is carried out during technical reading, which consists in pronouncing texts at a fast pace at the primary sound of speech, as well as in expressive reading, consisting in pronouncing texts using expressive intonation. As didactic material for reading, poems, lyrics, and songs are used.

 The exact resonant formulation of the speech mode is of great importance for the formation of the singing process, directly affecting its quality. Not only diction, but also intonation, the beauty of the timbre of the voice and, finally, the formation and development of singing breathing depend on him in singing.

 After the principle of resonant pronouncing of consonants and vowels in speech (the resonant speech technique of one sound, syllable, passage) is mastered, the vocal stage itself begins, at which the resonant syllabic singing technique is first worked out. At this time, a “vocal column” is included in the work, the steps of which are initially performed in speech mode. On Fig presents a "vocal column" for children, which shows the position of the lips when pronouncing and singing a vowel, which is present in the syllabic name of each step of the fret.

 The resonant syllable technique of singing is an intermediate link between speech and singing - “vocalized speech” or chanting. Vocalized speech is formed by singing individual vowels, while everyone else speaks in speech mode. They begin it by singing all the vowels so that the student feels, feels the specifics of the vocal mode, its difference from speech. The difference between speech and singing voices is in the displacement of the feeling of sound support in the articulation apparatus. In vocal mode, the length of the vocal vowel sound is changed compared to the vowel sound performed in speech mode. In it, the number of overtones of high frequency increases and high and low singing formants appear.

 When working with adult students use the scheme of formulation of the vocal mechanism, presented in Fig.9. In this diagram, the point "T.M." masks, dot "T.O." sound supports in the articulating apparatus in speech and singing; variations of sensations associated with resonant sound extraction and the formation of two modes of singing on "linear" and "point" vowels, and the connection of these sensations and movements with hand gestures. On figa shows the location of "T.M." and "T.O." in the roots of the upper and lower incisors with the location of the third finger in T.M., and the thumb in T.O. ("linear" vowels); on figb arrows show the setting of hands in "T.M." at formation of resonant sound extraction and singing of "point" vowels U-O; on figv shows the direction of control gestures to the lower incisors when singing "point" vowels U-O; in FIG. 9d, two plans for the formation of an academic manner of singing are indicated: the first moment is the utterance and the second moment is the chant. The first moment - pronunciation - speech mode - the roots of the upper incisors (clarity of pronunciation, accuracy of intonation), the second moment - singing - the vocal mode - the roots of the lower incisors (cantilena in singing). Fig.9d reveals the correspondence of the sensations of heaviness of the lower jaw, the controversy of sound breathing in "T.M", indicates the participation in their sensations of the third and thumb of the right hand in the formation of "point" vowels U-O; on fig.9 presents a prefabricated diagram of the tying of the right hand with sensations and movements of the articulatory muscles involved in resonant voice formation.

 First, all the vowels in the word are chanted, as if reading a chant: Vera, Ma-sha, A-le-na, then only the supporting vowels of the words: Ve-ra, Ma-sha, A-le-na and, finally, only supporting vowels of those words that carry the main semantic load in the phrase: "Our Tanya cries loudly." Highlighted vowels of words are sung and practiced with the help of controlling gestures, which provide control of freedom in speech and singing of the chin and lower jaw. With adults, the setting of the upper jaw and upper lip is practiced by performing the following exercises.

 All exercises are performed simultaneously by two articulators: voice and right hands or with two hands and are combined with a feeling of sound extraction.

 Exercise 1. "Setting the upper lip and upper jaw."

 The exercise is designed to set the sensation of the upper jaw according to the model of the position of the wrist of the right hand. The student models with his right hand the sensations of the position in the singing of the upper jaw, thus combining the sensations of the sound movements of the two devices with the pronunciation of the sound. This sensation is very important for the formation of an academic manner of singing, since the sensation of a high and narrowly extended upper jaw, as if hanging over the floor in front of the singer, lifts the dome high, including all its muscles in the work, causing their tension, and thus creates enlarged resonant cavity of the oral cavity. This condition of the oral cavity contributes to the complete inclusion of phoneme overtones, called Helmholtz overtones, - the phoneme singing formant. These overtones affect the timbre of the singing voice, making up one of its components.

 Exercise 2. "Activation of the muscular work of the upper lip."

 The correct sense of position in the singing of the upper jaw helps to maintain a constant resonant soundproof as well as the properly organized work of the upper lip. Consonant L, when pronouncing, immediately forms the half-smile necessary for resonant focusing. The student must analyze his half-smile, combining it with an emphasis on the sensations of sound movements in the middle and corners of the upper lip. In order for the middle of the upper lip to work especially actively with the three central muscles, the sound image of the sensation of its work is turned on. It can be a "hook" that grabs the teeth from the opposite side, or a "proboscis", for example, a mosquito, which is wound on the upper incisors from the inside. The sound representation of the position of the corners of the upper lip can serve as a representation of the mouth of Pinocchio, in which he is to the ears. The upper lip is pressed against the upper jaw and upper incisors. It is most convenient to combine the training of the muscles of the upper lip with the work of the first, second and third fingers of the right hand, for example, crumple the crumb of bread with them, pronouncing the consonant L. The nature and intensity of the sound movements of the hands and the three central muscles of the lip must be combined with each other and with the pronounced sound, while imagining that the lip also grabs the ball from the crumb of bread from above, squeezing it tightly. The nature of the movements of the central muscles of the upper lip is as strong and tenacious as the movements of the three fingers of the right hand. The tempo of the movements of the fingers and lips should be combined with the pronunciation of the sound.

The sound movements of the upper lip initially have a specially exaggerated large amplitude. The middle of the upper lip is deliberately
falls down when pronouncing and relaxes at the moment of a pause. Going down, she kind of takes an imaginary bead with her central “three fingers” - muscles. At the initial stage, this movement is visually visible and it seems unnatural, but it is necessary for rough work and is a specially exaggerated exercise machine. When lowering the lip, a representation of it in the form of a “hook” is introduced, which in the center of the lip clings to the teeth from the inside. In this case, the corners of the upper lip should be directed upwards to the ears. The image of Pinocchio's mouth or the image of glasses put on the ears of the arms helps to feel this sound movement well and learn how to keep it while working.

Focusing points of the mask and support are carried out in the following sequence:
- the mask point is fixed by the sound sensation of the third finger of the right hand, the thumb of the right hand is introduced into this work. During the work of the third finger, he touches his second phalanx,
- pronounce the consonant sound L, and then the vowel sound A in the same place and with the same sound support,
- then vowel A is stretched, while the chin is lowered at a right angle, and the soundproofing is shifted to the roots of the lower incisors. The thumb fixes the fulcrum at the roots of the lower incisors and carries it forward, and the lower part of the brush, opposite the wrist, simulates the work of the chin, sinking simultaneously with it.

 Between the point of the mask and the formed fulcrum, a “pivot” arose; it is held by the third and thumb of the right hand. The "pivot" in the sensation should be very short, so the distance between the fingers needs to be reduced, to feel it tight, elastic and short. It is important to feel the heavy chin hanging down, which, like the vowel sound, hangs perpendicular at right angles. Having compacted the sound, the thumb slightly extends the lower teeth and with them the fulcrum of the sound forward. In vocal mode, the sound absorber moves to the lower incisors, while it is important to push the upper jaw forward and correct the point of the mask with the upper lip, while holding it in the forward position (image of overhanging over the floor).

 For a better working out of the feeling of jaw separation, two control gestures of the hands are used: on the lower teeth (the second and third fingers at the corners of the mouth are placed on the lower teeth), or the third fingers are placed in dimples at the tragus of the ears. Due to this, the movements of the lower jaw in singing and speech are liberated.

 In addition to controlling gestures, modeling hand gestures are used, they can be performed simultaneously, sharing the functions of the hands. They consist in lowering the wrists of the hands down - the bottom of the palm, while the palm is turned forward, the fingers are extended upward. The wrist simulates the sagging of the lower jaw downward at a right angle to the upper. The bottom of the palm, that is, the wrist, describes an arcuate movement resembling a volumetric thicket in front of the student to the levels of the chest in which the sound resonates. These gestures help the student understand and feel the work of the internal muscles that change the acoustics of the sound of the voice, learn how to work with them independently, starting from convenient natural sensations associated with the resonant formation of sound.

 The free lowering of the lower jaw and its advancement is the mechanism that contributes to the emergence of a new sensation: soundproofing at the roots of the lower incisors while maintaining the pronunciation of a consonant sound at the roots of the upper incisors.

 As a result, there are two modes in singing on each stretching vowel - pronouncing sound (subtle entrance into it) and “strait”, canted singing, which the author called the speech and vocal modes of singing.

These modes, including the resonant formation of the vowel, are practiced in the process of performing vocal gymnastics for vowel sounds, the exercises of which are built using the basic sound movements: postures of "tapping", wide and narrow phoneme gestures of hands, body, general movements. The main objective of these exercises is:
- preservation of the point of the mask, the place indicated by consonants when pronouncing the vowel and singing it;
- the correspondence of the articulation and chant of the vowel with the voice apparatus and hands, the occurrence in the hands of a sensation of the sound of the vowel;
- hands control the vowel sound quality (duration, nuance, timbre);
- the transition from the speech manner of sound production to vocal formation.

 Figure 10-12 schematically shows the movements of the arms and legs in combination with a change in the position of the student's body when performing various exercises.

 When performing the exercise "Tree in a Storm" (Fig. 10), the sound production and sound formation of the "linear" and "point" vowels on the general motor sensations are practiced. The student in the technical work on sound includes an artistic image, introducing himself as a tree.

 The first part of the exercise.

 Hands raised above the head and connected by the wrists. This is the crown of a tree that sways with a light blow of the wind. The wrists move synchronously in one direction or the other, describing the small eight above the head. These movements combine with the sound of the vowel sound Y in speech mode. When the movement stops, the sound is interrupted.

 The second part of the exercise.

 The crown of a tree sways from a strong wind. Hands describe the big eight in front of the chest. When they are in the lateral and upper parts, the consonant L is pronounced repeatedly. At the same time, a vowel sound is pronounced in the upper part of the semicircle, stretches in the speech mode, and when the hands move downward, the speech mode changes to vocal in the center of the big eight. This is how they work out the sound of each “linear” vowel sound.

 The third part of the exercise.

 Strong hurricane wind. The crowns of the trees lean down to the ground so that the branches encircle the roots. The small eight are performed at the feet. In this part of the exercise, the resonant formation of the “point” vowel sound O, which is pronounced as consonant LI, is practiced. The principle of turning on the vowel is the same as when practicing "linear" vowels.

The continuation of the previous exercise is the exercise "Leaf fall" (Fig. 11). The exercise is used to work out the preservation of the resonant sensation of sound production and the formation of vowels in the sound movements of the hands at a fast pace and pronouncing consonant and vowel sounds focused at the point of the mask and advanced. When performing the exercise, the hand should be completely relaxed, completely free. The pronunciation of consonants and vowels should be carried out with the tip of the tongue very clearly, clearly, firmly,
Preliminary exercise.

Before starting the exercise, the student learns the elements of the complex movement of the hands. Hands are an image of swirling leaves. The movement includes the simplest components of the movement:
- tilting the brush in and out with complete relaxation and hanging;
- rotation of the brush around an imaginary axis - "flashlight";
- winding movement of the hands from the elbows;
- shaking brushes of water droplets.

 All components of the movement unite at a fast pace - the whirling of leaves detached from the trees. The accents of the sound movement of the swirling leaves are combined with the pronunciation of the consonant sound L. The faster the leaves spin, the faster the consonant sound is pronounced.

 Strong gusts of wind from a raging storm tear down and circle the leaves of the trees. The brush shaking movement is superimposed on the rotation. It especially helps to feel the sound being pushed forward. Rotations with the hands are combined with the pronunciation of a consonant for tuning to the focus point, and then vowel sounds “linear” and “point” are inserted into this place.

 When pronouncing vowels, wide and narrow phoneme gestures are used. There are two points in the exercise - “leaf spinning” and “leaf fly”. The whirling of leaves depicts the rapid rotation of the hands, the flight of the leaf — the hands are spread apart with a wide phoneme gesture on the “linear” vowels A, E, I, E, S and connected by the wrists at the top or bottom on the “point” vowels U and O.

 Phonemic gestures on "linear" vowels with dilution of the wrists are performed at chest level; "point" U - above the head; "point" O - below with a belt tilt; on the "point" vowels, the wrists join.

 When performing the movement, it is important to combine the attack of sound with the supporting movements of the wrists articulating sound; vowel chants - with the “singing” of hands, the smooth movements of freely hanging brushes leading the sound; pronouncing consonants - with increasing tension of the general movement of the hands, attack of sound - with a tense sensation of the muscles of the vocal apparatus and wrists, followed by muscle relaxation when it sounds.

 Initially, both exercises are practiced at a slow pace with the teacher’s control and the student’s self-control. As you master the exercises, the pace of execution increases according to individual capabilities.

 Individual parts of the exercise can be used as independent exercises to develop the necessary skills.

 The resonant formation of "linear" vowels is also practiced on the Wave exercise (Fig. 12). It is intermediate in the exercise "The tree in the storm" and is included before the middle part of the exercise, when the tree sways the crown. It, like a magnifying glass, decomposes the vocal mechanism into the components of movement. The student is encouraged to imagine a large wave running ashore. At first, the wave gains height. At this time, the student raises his hands up through the sides, combining with repeatedly and clearly pronounced consonant L. This movement is driven by the wrists. When the hands have reached a height (the wave has grown), the wrists are turned forward, at this time the “linear” vowel is pronounced in speech mode. With further movement of the hands down, the vowel gradually translates into vocal mode. This is how they work out the sound of all vowels. This is a slower translation from speech to vocal mode.

 Thus, in the resonant formulation of vowels, as well as consonants, the general plastic is combined with the plastic of the articulation apparatus.

 Testing the vocal mode of the reference vowels is the main task of the stage of vocalized speech. First, on a primary speech tone, and then in a primary speech register (2-5 sounds), work is done on individual syllables in words, then texts are read, verses with singing in the words of the supporting vowels, vocal improvisation is turned on.

 In vocal gymnastics, it is repeated many times with a subsequent analysis of the sensations arising from this. This is the basis of resonant sound extraction, which determines the resonant movements of the muscles of the vocal apparatus, their formulation. The complex of general movements includes two leading movements - the singing pose of "bells" and "phoneme" gestures of the arms and legs, which include wide arm movements to the sides when modeling "linear" sounds and narrow arm movements - joining the palms and elbows when modeling the "point "sounds; the position of the legs apart and together, as well as the movement "shaking", stimulating the feeling of support of the body. Phonemic gestures simulate the functioning of the upper lip when pronouncing a particular sound. At the same time, they help the student to navigate in the surrounding space, to feel himself in it, motor and support, which contributes to the formation of sound at the point of the mask.

 The consonant sound L is used as a reference consonant. All other consonants and vowels of the alphabet form where it is.

 The formation of syllabic resonant vocal technique during intonation of supporting vowels is practiced when performing intonation exercises proposed for the development of dramatic abilities in students. Intonation exercises are built on a complex of special motor sensations and movements, the leading of which are large and hand movements of the hands. All these movements are associated not only with the artistic performance of the image, but also with the formation of the resonant sound technique. Large hand movements depend on the type of vowel formation and the nature of the performed intonation. Various types of intonation exercises are offered as training, for example, “Images-synonyms”, “Images-antonyms”, “Reading texts and verses with different assignments”, “Artistic-semantic variation of intonation”, “Role-reading poetry”, “Theatrical performance of verses” "," Performance of verses on the mimic show "," Improvised vocalized voicing of verses and texts. " All exercises are based on a combination of expressive speech intonation and its corresponding movements, the execution of synonymous images or images-antonyms.

 The most convenient for starting work with students were the intonation exercises "Images-synonyms", "Images-antonyms" due to the use of a fairy tale plot and two opposite images. Images-synonyms precede the work with images-antonyms. As a result of the contrast of images and fantasy fairy canvas, a natural approach to a vivid stage performance and creatively relaxed performance arises. The use of a complex of opposing technical and artistic means (intonational, motor) contribute to the acquisition of relevant skills. This work naturally goes into the exercise "Drama of intonation of a 4-part form."

 Exercise has a 4-part form of structure interconnected by a single dramaturgy of intonation.

 The main task of the exercise is to master the expressive movements, combined with the dramaturgy of intonation and the technique of transmitting the changing character of images in a voice.

 The expressiveness of intonation is now associated with the images living the plot episode, which changes their external and internal state. With the help of changing intonations, the student must learn to subtly convey all the plot and psychological metamorphoses that occur with the images-antonyms in each part of the exercise and apply the corresponding gestures.

 This is achieved through the acquisition of voice flexibility and the ability to control timbre colors while maintaining resonant extraction and combination with artistic performance, which is supported by external expressive gestures.

 To perform the exercise, each part of it is conditionally considered as part of a 4-part musical piece: exposure, development, climax and code. It is conditionally equated to a two-beat tact, where a strong share is a strong image, a weak one is a weak one. Sequential alternation and motor execution of strong and weak images, contributing to the development of rhythmic feelings, is associated with the sensation of a meter.

 Exercise can be performed with large and wrist movements of the hands. With wrist performance, the exercise includes paradoxical movements characteristic of the vocal, in which the intonation moves up and the arms move down and vice versa. These movements are the result of paradoxical thinking, which can be applied at the conscious and unconscious (imitation) levels. The unconscious level of carpal performance is used in working with children.

 The exercise is based on the motor interaction of two articulators (hands and voice apparatus), combined with a resonant high-pitched sound of intonation. Due to the complexity of the execution, the work is carried out in two stages. At the first stage - by large phoneme and high-altitude hand gestures, without paradoxical movement. The paradoxical movement is used for hand wrist, which is the most complex and is included in the work with a firm grasp of the dramaturgy of the 4-part intonation and the availability of sufficient comprehensive training. This option exercises provides a conscious analysis and approach to work. But acquaintance with him in work with children and novice adult students can occur in imitative performance. And in this embodiment, wrist exercise also benefits, as it includes a sense of paradoxical movement on an unconscious level.

 For the convenience and quick assimilation of the dramaturgy of the intonation of the 4-part form when learning the exercises, it is useful to use the schematic notation of the pitch of intonation, presented in Table 1. This allows you to very effectively learn and practice the movement of intonation by hand for each part.

In working with the intonational dramaturgy of opposing images, the possibility of the most complete inclusion of expressive gestures, combining vocal, musical and acting techniques is manifested. In addition, when performing intonation exercises, a whole range of diverse performing, technical and expressive tasks is solved:
- expansion of the speech range of the voice on a resonant basis;
- education of expressive vocalized reading skills on the instructions of the teacher and on the basis of their own improvisation;
- education of the intonational-timbral flexibility of the voice, which is associated with the ability to apply nuance, use high-pitch differences and mix tones ("dark and light");
- the ability to vary the pace, including pauses, caesuras, fermats, in order to enhance the semantic expressiveness of the performance;
- the ability to vary the semantic accents of words and phrases;
- to enhance the expressiveness of the artistic meaning and show the nature of the image, the ability to use sound-pitch differences in intonation;
- fostering a sense of preservation of the resonant formation of supporting vowels in connection with a change in pitch, the nature of the sound of vowels;
- refinement of the vocal mechanism through a combination of speech and vocalization of supporting vowels, etc.

 With the component-wise presentation by the hands models of two modes of sound formation arising from one another, the “vocal mode”, i.e. stretching, singing (strait) of the vowel is a natural transition from the "speech mode", that is, the beginning of the pronunciation of the syllable, in singing. It is based on the preservation of the place of extraction of speech sound and the formation of a new mechanism for the vocalization of the intonation of stretching vowels. The muscles of the articulation apparatus in modeling this process are motorly combined with the model of the hands.

 At first, the learning of intonation is worked out according to the pattern: hands show the pitch of the intonation drawn on the pattern, at this time the name of the antonym corresponding to this designation is pronounced. Then the intonation is learned with a spatial sound-altitude gesture, which is performed with two hands, so that the student combines the sound of the intonation of the voice with its spatial height (higher, middle, lower). After that, the entire exercise “Dramaturgy of Intonation of a 4-Part Form” is performed with the names of antonyms with a spatial, high-altitude hand gesture, which is combined with a phoneme (intonations of the reference vowel are two types of formation), the exercise is performed standing, with large hand gestures. Then the same exercise is performed with hand movements of the hands while sitting (the right leg on the left leg, the left hand on the knee with the palm up), while this includes the clocking movements of the right hand, which are performed synchronously or paradoxically with respect to the sound of intonation.

 At the stage of practicing the vocal mechanism, they continue to work on the development of musical and vocal hearing using the "vocal column", which is shown in Table 2. It takes into account not only modal sound-pitch relationships, but also the peculiarities of vocal intonation of stable (A, O, Y) and unstable (E, I, S, E) vowels by emphasizing their sound production by consonant. In this model, using ladtonic gestures, the steps of a fret are modeled, each of which has a specific syllabic designation and two modes of singing - speech and vocal. The location of the steps of the fret is indicated with two hands of the singing student at the corresponding points of his body and head, and the modes of singing are modeled by the position of the wrists: speech mode - the wrists at the top, vocal - the wrists at the bottom.

 In the speech mode (syllable utterance), the manual sign is performed with the wrists raised up, in the vocal mode (singing of the syllable), the wrists are lowered in the same manual sign, simulating the lowering of the lower jaw. The only exception is the manual sign of the upper I stage, in which, in the speech mode, the wrists are connected at the bottom (fingers at the top), and in the vocal, the hands are separated with the palms up.

 First mastered the basic, stable, fret steps, starting with the first, then unstable, with resolution. Steady steps serve as a setting for the song. They can be used as vocal exercises for her, including the most difficult rhythmic and intonational turns. Work on vocal intonation of a melody begins with palm-tonal and, if necessary, combined gestures (a combination of palm-tones with a hand, control and other gestures).

 The way of setting sound from speech to singing through these stages is the most natural and most accessible for each student - an adult and a child. The proper fit of the vowel is of great importance for the formation of a clear and expressive diction in singing. In addition, the vowel fit focused at the point of the mask directly affects the formation of accurate singing intonation. The vowel landing, as well as the resonant focusing of sound, is the most important part of the vocal process directly involved in the formation of singing breath.

 The formation of resonant singing sensations is facilitated by the work on the plastic of the vocal apparatus and at the same time on the general plastic. In general plastic, they mainly use large, so-called “phonemic” gestures: wide for “linear” and narrow for “point” consonants and vowels. In the plastic of the vocal apparatus, in addition to controlling gestures, a control wrist gesture of the right hand is used.

 The control wrist gesture simulates, controls and helps to maintain the position of the upper lip and upper jaw necessary for the correct soundproofing, helps to advance the sound forward and hold it at the point of the mask. Sounds of any height are in the same place as a result of a paradoxical movement, in which high sounds are sung at the point of the mask with a lower soundproof, and low sounds - on the contrary, with a higher one. Thus, those and other sounds end up in the same place, as if "in the same plane", which allows you to maintain the natural position of the larynx.

The control wrist gesture includes several separate movements, each of which contributes to the emergence of certain vocal sensations:
1) the right hand is stretched forward, the 3rd finger as if makes a sound forward from the roots of the upper incisors;
2) the right hand with the wrist extended forward upwards models the advancement upward of the upper jaw;
3) the right hand is stretched forward, the line connecting the fingers with the palm is tense - the model is the position of the upper lip on a natural half smile;
4) the wrist of the elongated right hand, lowered down, is a model of the chin and lower jaw dropped down.

 These components of the control vocal gesture easily pass one into another, depending on the task that the student faces.

 After the students have mastered the vocalized speech, they proceed to singing. First, they sing along in one sound of the first stage of the fret with palm gestures, then after the introduction of stages III and V - songs in three, later - five sounds. Chants include moves to a third and triads.

Chanting
The first type of singing is used in the formulation of the resonant technique of a syllable in speech. When pronouncing consonants and vowels, a single place of soundproofing is preserved - at the point of the mask, the mouth almost does not open. Chanting of this type is offered to children only in primary speech tones, taking into account three types of voices. Children are divided into three groups, each of which works on its primary tone. Use vocal beads, "microphone".

Syllables consist of consonants L, H, D, T and vowels, first “linear”, then “point” in the following sequence:
LYA, NYA, DYA, YOU; LA, ON, YES, TA; LE, NOT, DE, TE;
LEE, NI, DI, TI; LE, NE, DE, TE; YES, YES, YES, YOU
LO, BUT, DO, THAT; LU, NU, DU, TU.

 At the end of each syllable, you can add the sound Y. For example: LAY, NAY, GIVE, THAI; LEI, NEY, DAY, TEY; LIY, NIY, DIY, TIY, etc.

 The inclusion of sound Й in syllables helps to approximate the sound and facilitates sound getting to the point of the mask.

 In the second form of chanting, the same syllables are used as in the first, but their task is changing. They now serve to work out two modes of singing and are “tied” to the first stage of the fret and are performed with its palm tone gesture. Control gestures (with two hands or with the right hand; the left hand at the same time performs a palm-tone gesture) can be connected to practice two modes of singing at these songs.

 In the third form of singing, the vocal work includes the stable - I, III, V - fret levels with syllabic names and palatonic gestures of the vocal column. Chantings are performed with different rhythmic patterns in different combinations. This allows you to perform chants with a third or triad, which serves to develop harmonious hearing in children.

 The inclusion of stable stages of the fret in the vocal column into the work of chanting characterizes the fourth type of chanting. In it, at the initial stage of work, it is especially important to maintain resonant focusing. In this regard, a combination of two types of gestures is used: palmar and control carpal. Ladotonal gesture is performed with the left hand, the wrist is controlled by the right hand. The chanting of this type include pitch bouncing within the fifth. Chanting can be performed first on the verbal syllables of the step, and then on the syllables listed above.

 The fifth type is the chanting of the song being learned, including the most complex intonation or rhythmic turns. They are performed using two types of gestures: palm and hand control. You can increase the duration of difficult intonated steps, put them in place of strong beat proportions, and come up with a convenient, natural intonation approach to them. The difficult rhythmic pattern can be clapped, walked.

 Exercises can be performed with the inclusion of other gestures - phoneme, phoneme in combination with high-altitude, control.

 All chants are performed in the primary speech register taking into account the types of voices. With the palatonic intonation of the stable steps of the fret, the development of harmonious hearing can be performed with the use of thirds and triads.

Song Approaches
Before offering children this or that song, the teacher analyzes it from different points of view. The range of the song should not exceed the range of the group of children for whom it is intended. If a song fits the range, but has a high or low tessitura, it must be transposed into an accessible key or divided into parts: a higher part will be performed by children with high voices, a lower part - with low ones.

 Okay. In major, the feeling of fret is formed more successfully, therefore, at the initial stage of work, songs written in major are used.

 Intervals It is easier for children to intonate wider intervals: large, small thirds, quarts, fifths; later they begin to cope with a large and, finally, a small second.

 Phonemic composition of the text. To build purity of intonation it is better that on strong beats of beat and long tones when learning a song with words there are stable vowels (a, o, y). If the text is unstable (e, u, e, s), they can be replaced with stable ones during the chanting period.

 For resonant equalization of the sound of all vowels in a melody that contains high-pitch jumps, it is better to replace the "vowels" during chanting with "linear" ones when singing.

 Analysis of the artistic and musical content of the song. Work begins on learning the song with its performance by the teacher and a conversation about its artistic and musical content. The teacher should present it brightly, colorfully to interest children. Then analyze the text, explaining the meaning of incomprehensible words, and connect it with the expressive means of music: melody, rhythm, nuance. It is important that children feel the characters of the images that they have to reproduce in singing.

 Having received a general artistic-figurative idea of the song, the children go on to theatricalize it, play the roles in the appropriate rhythm in order to feel it movingly and turn on the necessary vocal technique. Only in this case, the child will be able to feel and artistically, expressively perform the work.

 An example of motor-role work on the song "They Drive" (music by A. Filippenko, lyrics by T. Volgina).

 The first sentence: "Goats in the shuttle drove along the river."

 With children, this situation is figuratively played by motor. Hand movements are smooth, synchronous, slow. The nature of the movements is transferred to the vocal performance of the phrase: smooth, soft, stretching dense legato.

 The second phrase: "Along the shore of a hare in a red tarateka"

 The nature of the movement is completely different: a taratayka is a rigid cart; its wheels can be wooden. Children perfectly imagine how it will move along a stony, uneven shore, and they themselves choose imitating hand movements and a performing technique, now non legato.

 The third phrase: "Badgers rode important old men."

 Solid, gray-haired badgers in tailcoats and top hats, butterflies on the neck, canes in their hands, sleek and slow. Children perfectly reproduce this image and themselves find expressive performing touches and tricks. Usually they use a dense sound, compact legato.

 The fourth phrase: "Red chanterelles rode in chaos."

 Chanterelles are languid and at the same time cunning coquettes, exquisitely dressed. Chaos - small elegant carriages on high soft springs. The image of the fox is close and familiar to the children. They choose a combination of smooth and abrupt hand movements, and in singing - a combination of legato and non legato.

 Fifth phrase: "We drove through the mountains, drove along the valleys to the fly-grief, to the fly-tsokotuha."

 Children imagine the spaces through which guests go to a fly for a birthday. The phrase is performed continuously by the pouring sound of legatis-simo.

 Sixth phrase: "A fly was waiting for guests, baked gingerbread cookies, brewed tea, watered all the guests."

 An expressive performance of this phrase can be prepared by a conversation about a situation in which a fly prepares to meet guests.

 For example: Mucha is very happy about her awakening from hibernation, the upcoming birthday. This is her happiest day, for which she is anxiously preparing. He is waiting for gifts from his many guests and is trying very hard to please everyone. The fly bakes gingerbread cookies with different spices for bunnies, chanterelles, badgers, etc. The fly’s tea is thick, unusually fragrant, because it includes a variety of herbs. The fly with pleasure cooks and moves plastic. She is beautifully dressed and joyful in anticipation of the holiday. Expressive tones appear in the sound of the singing voice of children: dense, like thick aromatic tea; light, transparent, tender, drawing a fluttering happy fly; warm, sincere, depicting a warm, kind hostess. In their vocal performance, children begin to combine legato, non legato, sforzando and other techniques.

Ladotonal work on the melody
The teacher is tuned in the key of the song with the help of tonic triads, using palm gestures, and then performs the entire melody of the song with appropriate gestures. He asks the children to name the steps of the song that were performed in vocal mode.

 When the melody is repeated, the teacher specifically selects the steps (with the help of stops, slowing the tempo), performed in vocal mode.

 Then the children sing along with the teacher and sing along to the tune triad with palm-tonal gestures and sing along to the song's performed melody. So begin learning the melody, which initially goes at a slow pace, using schemes (Fig. 8), while the teacher shows each step in the scheme.

 Particular attention is paid to practicing steps that are performed in vocal mode. At these steps, the teacher stops and works on two modes of singing at a slow pace, combining the movements of the hands and the singing apparatus with sound.

The most complex segments of the melody are included in specially composed chantings and practiced separately in terms of:
- intonation (intonation of unstable steps at which the intonation is overstated or underestimated; an unstable step is put in place of a strong share);
- vocal (jumps of the melody up and down, where it is especially important to hold the resonant soundproof, work out with different rhythmic patterns, accents, extended durations);
- rhythmic (practiced with the help of claps, jumps).

 They can be turned into vocal exercises for the song, changing the tempo, supporting steps. Of these, you can make singing, which will serve as a setting for the song.

Work on speech technique
To feel a resonant place in singing, it is important to set up students to feel the place of speech utterance. This contributes not only to the formation of clear diction in singing, the professional sound of the voice, the precise intonation of the melody, but also the expressive vocal performance as a whole. The shortest way to this is the "technical" reading of the text using beads 1, 2 (figure 1).

 At first, the text is read at a slow pace, almost by syllables with an exaggerated, as if multiple pronunciation of consonants in each syllable. The place where the consonant is pronounced is analyzed, memorized and stored in a subsequent vowel.

 Initially, the movement of the upper lip has a large amplitude when pronouncing each syllable. The upper lip drops sharply down, capturing an imaginary bead, equal in size to the one with which the fingers of the right hand work. The movements of the lips and fingers coincide in magnitude and degree of tension. Relaxation occurs before each new syllable, when the fingers lower the bead and the muscles of the upper lip relax. The movements and sensations of these two articulators must be precisely coordinated.

 Then the text is read at a faster pace. In this case, the size of the beads decreases. The bead is firmly squeezed with your fingers and held on the whole phrase. The upper lip repeats the same movement, it is tense, its middle is omitted throughout the whole phrase, while the upper jaw and wrist of the right hand are pushed forward.

 In the technical refinement of the text, they also use the “microphone” exercise - the third finger is put into a notch above the upper lip (the first finger of the second phalanx is the “microphone stand”) and the text is pronounced clearly and loudly in it at a fast pace. All technical work on the texts is conducted in a primary speech tone.

Theatrical work on the song
In order for the student to feel and expressively perform the song, he must not only know and understand the plot and its musical and artistic content, but also feel the character of all the movements inherent in the music. For this purpose, you need to muscularly work them out. In this case, there is a personal experience of motor sensations, which are necessary for the expressive performance of the song.

 The theatrical performance of the song, in which along with the plot-role movements, uses didactic ones designed for the formulation of the resonant technique of singing, helps to solve this problem.

 In work on the technique of singing, special large gestures are used: simulating pitch relationships and the type of phoneme, large control gesture - the Big Eight, and hand control gesture. In the theatrical performance of the song, these gestures are perceived as role-playing, not didactic.

Claims (21)

 1. A method of teaching resonant singing based on the formation of resonant acoustics of the vocal apparatus, characterized in that the resonant focusing of sound production is formed by stage-by-stage working out of individual vocal elements and mechanisms using two articulators, one of which is the voice, and the other - hands, the hands of which model resonant movements of the muscles of the oral cavity, invisible and uncontrolled by the human mind, including the propaedeutic stage, during which resonant movements of the voice are formed using the indicated two articulators on a primary speech tone and form spatial sound sensations using hand movements simulating the position of the upper lip when pronouncing sounds, the speech stage, which includes the phased process of the formation of resonant extraction of consonants and vowels by concentrating sound exhalation at the mask point located in the roots of the upper incisors, the implementation of a set of exercises for practicing consonants in speech that contribute to the restoration of coordination and combination the sensations and movements of general plastics, general sound plastics, resonant movements of the vocal apparatus, the development of imagination and the creation of images using resonantly focused consonant sounds, the formation of the resonant technique of pronouncing syllables in separate words, and the formation of resonant passive speech technique during technical reading, which consists in pronouncing texts at a fast pace on the primary sound of speech, and expressive reading, which consists in pronouncing texts using expressively th intonation, while maintaining resonant sound production and the vocal stage, including performing a set of exercises aimed at practicing resonant extraction and forming vowel sounds by combining a complex of movements of general plastics, sound plastic with resonant movements of the vocal apparatus and performing figurative paintings, studies, element-wise training of movements that provide natural transition from speech to singing with the inclusion of expressive intonation, the formation of syllabic resonant vocal technique with intonir the development of reference vowels in words synonyms and antonyms with the use of glissando for intonational differences and the formation of a resonant passive singing technique with the simultaneous development of musical and vocal hearing, including learning at least one melody with palm-tone gestures, combining them with gestures that simulate two modes of singing, first on one sound of the first stage of the fret, then on the next, third and fifth stable stages of the fret, gradually expanding the range down to an octave, using modeling and control gestures, in this case, after learning each melody in the indicated order, it is performed with the text while maintaining the resonant extraction and formation of sound, and, in addition, at different stages of working out individual vocal elements and mechanisms, instruments are used made in the form of beads of different sizes with which the student learns with his fingers and makes certain movements with the hand, in which sensations arising depending on the nature, pace and form are reflexively transferred to the movements of the vocal apparatus.  2. The method according to claim 1, characterized in that the production of resonant movements of the vocal apparatus on a primary speech tone begins to be practiced by pronouncing the reference consonant "eh" and consonants similar to it in the type of sound extraction, and then all other sounds.  3. The method according to claim 1 or 2, characterized in that at the preparatory stage, all hand movements simulating the position of the upper lip when pronouncing sounds are carried out first at a slow and then gradually at a faster pace, moving from a large bead to a smaller one.  4. The method according to p. 1, characterized in that the focusing of consonants and vowels by concentrating the sound of exhalation at the point of the mask located in the roots of the upper incisors is worked out first on the primary speech tone, and then on the sounds of the primary speech range.  5. The method according to claim 4, characterized in that they use an exercise in which the third finger of the right hand is placed in a recess above the upper lip, and the thumb is positioned so that it abuts the middle phalanx of the specified third finger.  6. The method according to claim 1, characterized in that when learning the melody using the steps of the fret, the location of the fret step is indicated by certain positions of the singing hands at the corresponding points of his body and head, and the singing modes are modeled by the position of the wrists.  7. The method according to claim 1, characterized in that when performing a set of exercises aimed at practicing resonant extraction and formation of vowels, the necessary body positions and movements of the hands and body are used.  8. The method according to claim 1, characterized in that when teaching adults in the process of learning melodies, a set of articulatory, palm-tonal, high-altitude, controlling and controlling gestures is used as modeling gestures.  9. The method according to claim 1, characterized in that when teaching children in the process of learning melodies, a set of palm-tonal, high-altitude, controlling and controlling gestures are used as modeling gestures.  10. The method according to claim 1, characterized in that, when playing melodies with the text, they additionally work out quick reading of the text in a primary tone at different rates using tools and modeling hand gestures with the inclusion of two pronunciation modes and a general supporting movement of shaking.  11. The method according to any one of claims 1 to 10, characterized in that at each stage of the development of individual vocal elements and mechanisms use a didactic repertoire for children or adults.  12. The method according to claim 11, characterized in that the didactic repertoire is presented on video / audio tapes.  13. The method according to any one of claims 1 to 12, characterized in that at each stage of practicing individual vocal elements and mechanisms, developing intonational exercises are performed.  14. The method according to p. 13, characterized in that the developing intonation exercises are aimed at developing a sense of the image.  15. The method according to p. 14, characterized in that the developing intonation exercises are aimed at developing a sense of form.  16. The method according to item 13, characterized in that they perform developing intonation exercises designed to develop and control timbre colors of the voice.  17. The method according to item 13, characterized in that they perform developing intonation exercises designed to master the paradoxical and synchronous movement based on sensation.  18. Instrumentation for teaching resonant singing, characterized in that it is made in the form of beads of different sizes, with which the student at various stages of practicing individual vocal elements and mechanisms with his fingers and hand makes certain movements in which sensations arising depending on the character, tempo and form, are reflexively transmitted to the movements of the vocal apparatus, while the beads are strung on a thread and are located at a distance from each other, taking into account the size of the learner’s palm, and the thread is at one end m is connected to a bracelet, which is placed on the right hand of the student, and has a length that allows you to freely take each bead with your fingers.  19. The toolkit according to claim 18, characterized in that it contains two beads of a contrasting size, while the large bead is located first from the junction of the thread with the bracelet and when placed in the student’s hand, it is located on the bend of the middle and upper phalanges of the index finger, and the distance between the beads corresponds to the width of the thumbnail.  20. Instrumentation according to any one of paragraphs.18-19, characterized in that the beads are separated by beads.  21. Toolkit according to any one of paragraphs 18-20, characterized in that the beads are made of natural material, such as stone or wood, or artificial material, such as plastic.

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