RU2389080C2 - Method of training singing voice, method of teaching resonance singing, method of determining ability of voice box to creating singing voice and device for teaching resonance singing and training singing voice - Google Patents

Abstract

FIELD: physics.

SUBSTANCE: voice type is controlled with primary inclusion into the voice quality of two-level chest resonance with automatic and balanced inclusion of voice resonance with successive inclusion into the resonance of structural components of the respiratory system and musculoskeletal system elements of the chest. The voice type is periodically manually determined, while recording its sound in two positions - with natural and manual setting into an optimum position with the best sound. Manual determination is done using a portable, desk-top or floor manual determination device.

EFFECT: faster process of voice training, simplification of diagnosis and controlling voice type.

13 cl, 14 dwg

Description

The inventions relate to teaching music, mainly vocal, and in particular to methods of accelerated manual teaching of resonant singing using manual or instrumental manualization to determine the timbre of a student’s singing voice and its staging.

The development of vocal art in Russia began to be systematized with the adoption of Christianity and the emergence of spiritual choral singing, which existed in parallel with folk dance and solo until the appearance in the XVII century of an opera with the old Italian school of teaching singing, characterized mainly by the virtuosity of voice and polyphonism in music. The music that arose after the rejection of polyphonism formed a new Italian school of singing and learning to sing with dramatization of vocals, especially the upper registers of the voice, inextricable with increased requirements for the strength of sound, its flight based on singing breathing, elevated to vocal fetish and learning to sing. In the national schools that appeared then - German, French and Russian - the Italian principles of vocals and training naturally prevailed, which were periodically recognized by some Russian vocal teachers as ideal, with calls for a return even to the old Italian school. But in 1925, Russian vocalists were the first and only in the world to recognize the need to unify various options and develop a unified method of teaching singing, with recommendations for ensuring coordinated work of the larynx, breathing and resonators with the main type of bone-abdominal breathing and medium or freely held low position of the larynx, solid or a soft attack of sound, a two-register structure of male voices, smoothing of registers with a constant predominance of head resonance as the scale increases Indoor sound and breath sound to a support (see. prof. Egorov EA Fundamentals single method. M .: Muzgiz, 1925 YG). According to vocalists, the concentration of attention of this method on the narrow-tech side of the singer’s upbringing - voice production - did not contribute to the widespread use of these recommendations in everyday practice of vocal training. From the contribution of modern vocalists to pedagogy, one can note a way to create acoustic resistance when singing, US Pat. RF №2192047, G09B 13/00, G10D 7/00, 9/00 for 2000, providing rounding of sound and articulation in separate areas of voice formation, in the throat and oral cavity, respectively. The grant of this patent raises doubts about the legality of the novelty, because this is one of the most significant characteristics of sound generation — the covering by the epiglottis of the entrance to the larynx — described by A. Verbov in 1930 (see below). The work of one of the oldest vocal researchers, V. Morozov, can also be attributed to modern ones. “The scientific foundations of vocal art: resonant theory of singing. Lecture course for vocalists, choir conductors, musicologists, graduate students, job seekers, trainees ", M., 1999. As well as a method of teaching resonant singing with instruments for its implementation according to Cl. RF No. 2202831, G09B 15/00, 19/00 for 2001, these sources contain all the components of resonant sound formation and explain the formulation of the resonance technique from the formation of the resonant acoustics of the singing apparatus.

There is also a method of comprehensive assessment of vocal giftedness described in US Pat. RF №2204170, G09B 15/00, 19/00 for 2001, containing the whole range of characteristics of vocal creativity, including voice and professional stage application.

By A.S. No. 28772, 51е6 for 1928, a device for voice production is known - a mask with a hole for breathing in the bottom, with protrusions for affecting the muscles of the face. The listed analogues of the claimed solutions are characterized by low adaptability to their practical use in vocal pedagogy, which is extremely necessary due to the fact that even with a good knowledge of the anatomy of the airways and the muscles that interact with the ligaments, the kinematics and dynamics of the vocal apparatus are very difficult to directly control them during phonation associated with an equally complex dramatic effect.

The closest in technical essence to the claimed method of training is the technique of voice production. A. Verbova, Moscow: Muzgiz, 1961 (second edition - first: publishing house “Triton”, L., 1931). This technique of voice production, including the formation of singing sound formation through vocal training of the singer’s voice-forming apparatus for a targeted search for muscle coordination of the voice-forming apparatus, providing singing sound formation and sound science with the support of the flight sound of the voice in the breath, with the free movement of the larynx to the optimal position for this type of voice and fixing it in it for the whole time of phonation of at least one musical phrase or its part, with rounding of the sound of the ligaments and ticking it, respectively, of the text of the performed work and / or the singer performing the vocal and dramatic tasks necessary to create an artistic image, while ensuring resonance of low notes of the voice range in the chest resonator, and high ones, respectively, in the head at all levels of the strength of the singing sound from pianissimo to fortissimo , consolidation of this coordination to stable automatism, with control and elimination of uncontrolled random transitions of the singing sound from rounded (covered d) on a speech flat (open - without variegated voice), without grimacing protrusions and lip extension for the purpose of rounding the sound, while avoiding the combination of rounding and articulating sound in the oral cavity, without directing the sound into the hard palate or to the roots of the front upper teeth and without actively exaggerated lowering of the lower jaw, with the definition of the type of voice at the beginning of the work on voice production with the work of raising the vocal hearing and the professional psychological qualities of the singer’s personality, with the combination of learning, singing The stage and repertoire of projected professional activities.

The closest in technical essence to the claimed method of comprehensive assessment of the ability of the voice-forming apparatus to form a singing voice is the method of operation of the device for measuring the relative level of voltage and power of the singing formant in a complex musical sound described in the section "Operation of the device" as No. 116458, 42g1 / 01 (G10L 1/02) for 1956. The method consists in sequentially determining the relative level of low and high singing formants and their frequencies from the corresponding channel of the device with obtaining a direct reference on its arrow pointer.

The closest in technical essence to the claimed device instrumental manualization is a device for developing a mechanism for singing breathing and training anatomical structures described in US Pat. RF №2133504, G09B 15/00, G10D 3/18 for 1996. It contains a support made in the form of a triple stiff-moving unit having two guides and two nylon belts, the guides are located on one side of the support, one of the guides is rigidly connected to belt and has the ability to move around the support, and the second with the second belt, the device has gaskets made of durable synthetic elastic fabric.

The disadvantages of the known method of training are a consequence of the complexity of the method of voice production, determined by the multiplicity of singing parameters of the process and voice. For some of them there are ambiguous estimates of its significance for phonation, for example, vocal breathing. A more detailed motivation for the indirect relation of breathing to phonation in general and to singing sound production and sound science will be given in the manual method of voice production, since the standard of laconicism of the description of the application excludes exhaustive evidence of the indirectness of breathing in voice and phonation. In the application, motivation consists of one evidence, although the abundance of recommended types of singing breathing is already very significant evidence of the indirectness of breathing in phonation.

Back in 1912, V.L. Karelin, singer of Mamontov’s opera, lyric tenor of the Mariinsky Opera, professor of singing and director of the Tashkent opera in the “New Theory of Voice Production” claimed that “breathing itself does not play an independent role in singing”, that “there are other factors missed by the modern method of teaching, but playing no less important role than breathing ”or“ breathing in itself does not play any role in voice production, because we can breathe by all the rules of art without making a single sound. ”

Most likely, Karelin in his work gives evidence of the secondary nature of breathing in phonation, and perhaps it was they that contributed to the publication of vocalist teachers confirming the erroneous actions of teachers who fetetize any of the known types of singing breathing. Moreover, already in the second edition of Dmitriev’s Fundamentals of Vocal Technique, in 1968, it was thoroughly proved that voice theory, concentrated in the formula of the new Italian school, “School of singing - school of breathing”, requires clarification on “School of singing - school of exhalation”. Nevertheless, the fetishization of breathing types by vocal teachers continues to this day, and it seems that additional evidence of the fallacy of teaching practice in interpreting the role of breathing in voice production is required, because this traditional interpretation of breathing leads students to a standstill and is the most depressing sousanism of vocal pedagogy. (Susanism is a recommendation (rule) leading to a dead end or, at best, distracting from the main action). Although the recognition of inspiration only by scientists who do not affect phonation can be considered half the battle, because by the physical nature, even in speech phonation, no sound is formed on the inspiration. Therefore, to finally clarify the role of breathing in phonation, it is necessary to determine what part of the breathing cycle the breath takes and how other phases of the breathing cycle of the ordinary household, ordinary speech and other types of breathing known in nature affect the phonation, and compare them with singing breathing. I am pleased to state that I was able to find such information in the specialized literature.

Such in the specialized literature are information on the duration of the phases of ordinary everyday breathing in a calm state, which can be described by the formula A1-B1-C2, where the numbers 1 are the time of inspiration (A) and expiration (B), respectively, 2 - pause (C) of respiration in seconds (see the book by A. Mikulin, “My system for combating old age. (Active longevity)”, p. 54-55, Fig. 15, 16, 17).

The following table shows similar formulas for the breathing cycle diagrams:

Calm speech - A1 - B (0.6-0.8) - C (6.4-6.6) sour starvation Emotional speech - A (0.9-1) - B (0.6-0.8) - C (14.1-13.1) sour starvation Divers for pearls - A (1.2-1.3) - C (210-240) - B (1.3-1.5) ? Whales - A (1.5-2) - Ce (1200-1500) - B (1.8-2.3) - Seals - A (0.7-0.9) - Ce (10600-10800) - B (1.5-2.0) - Singing - A (0.5-0.7) - D (35-40) - B (0.4-0.6) -

here C is a phonation pause, C is an artificial respiratory arrest, Ce is a natural respiratory arrest, D is a phonation exhalation stop (a pause of a singer with imperfections in sound formation).

Consequently, a short two-second pause of calm domestic breathing in calm speech breathing changes to a slow exhalation of air residues from the respiratory system, due to which the respiratory cycle doubles due to stretching of the last phase from 1/3 to 1/4 of the exhalation, and emotional speech - by 4 times slows down without changing the structure of the cycle, i.e. with the transition of exhalation into a speech phonation pause. At the same time, the exhalation of the residuals in speech breathing reaches 7 seconds, and in the emotional-speech - 14, i.e. the last 1 / 3-1 / 4 of the air drawn during inhalation is released from the respiratory system 7 times slower. In the book “Questions of Vocal Pedagogy”, People's Artist of the RSFSR, professor of the Moscow Conservatory S.I. Migay, artist and pedagogical vocalist on p.75 writes: “... Then I give the initial exercise in a different size (see exercise 4). Gradually increase its duration to 28-35 s and observe that the student sings, not panting, does not blush and does not breathe noisily, manages the minimum time for inspiration and delay, and also that the sound is absolutely calm. The slightest pitching of the voice or a change in timbre shows that the student cannot go further ... When the student reaches a calm free sound at 30-35 seconds of exercises within the open register, I consider the further development of breathing to be unnecessary, and maybe harmful, as this sometimes leads "painful expansion of the lungs, negatively affects cardiac activity and often leads to abuse of chest sounds." From what has been said, it follows that oxygen starvation, calculated by Professor Mikulin in speech calm and emotional breathing as 25% and 35%, respectively, in singing can increase to 50% and 70%, which leaves the singer no chance of survival. However, special studies show that singing breathing helps to improve its health and performance compared to people who do not own singing breathing.

Thus, the stopping of exhalation in a living breathing world occurs on a par with the phonation pause in speech, however, combining this pause with the last phase of exhalation and repeatedly stretching the scanty part of the air remains during this pause often causes oxygen starvation and the detrimental effects on the health of speakers associated with it, lecturers and singers.

For the information of the opponents of the given calculations of the duration of the breathing cycle according to the Professor Nikulin database, it is possible to carry out similar calculations using data on human breathing, speech and singing, experimentally obtained by physiologist E.K.Siirda and given in the collection “Questions of Vocal Pedagogy”, Issue I, Music, M., 1969, p. 93. In the article of phoniatrist M. Roisen “On voice formation in speech and singing”, the breathing cycle time of a quiet household Ttsdb = 60: 14.6 = 4.1 s, which coincides with the cyclogram of human breathing according to Mikulin.

From the analysis of the vocal methodology, it follows that paradoxes that have no logical explanation are present not only in the development of engineering constructions, they are also in technology, and, presumably, a greater number of these paradoxes (if someone manages to count them) will be found in methodological issues related to life and communication of a person with society and individuals of human society. One of these issues is the attitude towards singing breathing. Vocal educators have been misleading their students for centuries, arguing the importance of inhalation-type singing until twentieth-century scholars have found that there is no connection between inspiration and the result of the physical process of sound formation. Then R. Yusson established the dependence of sound production on the work of the corresponding sections of the brain - the neuro-synchronic theory of singing, which generally excluded breathing from the phonation process. Breathing is extremely important for maintaining the physical performance and vitality of the human body, as well as nutrition, sleep, musculoskeletal activity and emotional and mental health. But in practice, the absence of the influence of breathing on phonation was generally proved by the Italian vocal teachers themselves in the XVI-XVII centuries by experience with a candle. The absence of deviations and any fluctuations in the candle flame in front of the mouth of a singing master vocal of the highest qualification in singing skills speaks only about one thing: the master’s breathing stopped during phonation, which means that neither inhalation nor exhalation has a direct effect on phonation. Moreover, maintaining stable sound production, duration and beauty of sound is possible only if the volume of the respiratory system is unchanged, the position of the resonators is fixed, namely, the chest cavity, which consists of elements that can change their capacity during inspiration and exhalation. Consequently, stable sound production is possible with a fixed state of the chest, diaphragm, larynx and trachea with bronchi, which make up a coordinated sound system with ligaments. The cavities of the head resonance are almost constantly constant in volume.

Thus, Lamperti’s formula should finally take the following form: “The art of singing is a school for stopping breathing with a phonation pause between inhaling and exhaling."

The position of the larynx during singing is the second factor that determines the quality of sound production and the class of the singer. The apparent inconsistency of judgments about the place of the larynx in vocal-pedagogical literature is not really such, since the upper position of the larynx is recommended by Karelin for high voices (tenor, soprano, alto), and the lower one for low (baritones, basses, mezzo-soprano, contralto). Much more problematic is the means of achieving these provisions, which certainly must have stability, ease of transition of the larynx into them. Even if there is musculature in the voice-forming apparatus for a high position, which follows from swallowing movements, a certain training is required to fix it in the required upper position. The muscles moving it downwards in the voicing machine are absent, according to the singer, teacher and doctor A. Verbov, accordingly lowering down under their own weight to the place of the hyoid bone and the root of the tongue previously removed from this place also requires difficult and sometimes lengthy trainings. This circumstance is aggravated in the event of an erroneous determination of the type of voice at the initial stage of staging it. According to prof. Moscow Conservatory Titsa, the erroneous determination of the type of voice reaches 50%. Of our contemporaries, B.T. Shtokalov and Yu. Gulyaev could become the most famous victims. In an interview on the occasion of the 74th anniversary, it seems to RG, B. Shtokalov said that he had been singing in the Sverdlovsk Conservatory for two years in the baritone register, and his neighbor in the dorm room, Gulyaev, had been tenor for three years. My unpleasant experience of the object of error claims to be the Guinness Book of Records due to the definition of my voice as a tenor. I had to correct this mistake for 42 years in two stages with a two-three-year break, on my own without the help of vocalists. For 39 years of them I tried to stage a lyrical tenor, and in the last 3 years I have completed the production of a bass octave, or three-octave low bass. And in 1973, I decided that I didn’t have a voice and did not conduct vocal training until 75-76, but I periodically considered the reason for the failure in the first 12-year stage. I came to the conclusion that IP Pavlov was right, who said - “The method provides the success of any business”, and making adjustments to the method I use, I could not resist the temptation to check the effect of these adjustments. Despite my lack of vocal hearing in the seventies, I managed to record that the improvement in my sound production was noticeably accelerated, despite the fact that in the second stage I continued to consider myself a tenor. Another 18 years passed unnoticed, vocal training became part of my lifestyle, but the upper part of my voice range (second octave - la) sounded beautifully very unstable. And only in 1993, by chance and spontaneously, one of the December Saturdays I heard a very decent ... bass. All evening and so steady and confident that I thought and on Sunday I will be able to repeat this concert to myself. But neither on Sunday, nor in the following days, several attempts yielded nothing. A few months of reflection on this fact led to doubts about the presence of a beloved and then desired lyrical tenor, and the three dozen years spent on it confirmed this doubt. After switching to the baritone repertoire, the improvement in sound production accelerated. From 1995 to 1998, he found out whether there was a double: tenor with baritone or bass. In 1999-2000, he came to the conclusion that a tenor - neither lyrical nor dramatic - is foreseen. Until 2001, all the described work was carried out "underground" with a couple of unsuccessful attempts at a solo performance on the amateur stage in 1964 and 1966.

The stage experience of these decades can be attributed to concerts as part of the KuAI choir (1961-1963). In 2001, he decided to take part in the concert of the 40th anniversary of the choir Ku-AI-SGAU (aerospace university). From May 22, 2005 to September 15, 2006, the final stage of the production of the supposedly 2.5-3-octave bass took place. Not excluded bass profunda. And a very significant contribution to the completion of the work was made by the manual installation of the larynx. Along with soloing in the choir of veterans in 2001/4, solo performances took place in 104 concerts of the vocal group "Commonwealth". After this, how not to love the bass and bass repertoire!

Of course, an error in determining the type of voice of the learner inevitably requires a change in both the educational and the predicted stage repertoire, which in itself is very difficult. Therefore, the importance of an early and accurate determination of the type of voice is very important.

Therefore, in addition to vocal hearing, a vocal teacher should have an indicator tool or a method of organoleptic, instrumental or combined operational monitoring of the type of voice. Known methods and a few devices that are recommended for diagnosing a type of voice or for use in the voice process do not create such an opportunity, even if the authors declare them. It is enough to cite as an example the bead-and-clear instrumentation described in the method of teaching resonant singing according to US Pat. 2202831, which violates the basic principle of pedagogy - from simple to complex, because additionally requires distracting the student’s attention to enumeration of beads. By the way, violation of this principle is a general tendency of vocal practitioners. After all, the requirement from the student to simultaneously master the correct sound production and sound science, along with the creation of an artistic image of the work performed with a dramatic transformation into the character’s image, is to shoulder the student’s general learning task in all its complexity, inaccessible to him, at least for the first 2-3 Conservatory courses. Is the vocalist teacher likened to a weightlifting trainer, who, a newcomer who comes to enroll in a section, leads to a bar with a world record weight on it and offers him to break this weight on the first try. Of course, a beginner will not be able to jerk or push and even take this weight on his chest. The reason is simple and clear - the beginner is not ready for such a result at all, and not just on the first try. Similarly, a vocal learner who first finds the required coordination of the voice-forming apparatus is most likely to pick up the first note, the phrase is not clear enough, and the teacher will instinctively stop it under the pretext of impurity of sound. This is perceived by the student as a ban on singing in such coordination, and without remembering it and not fixing it on muscle sensations, the student proceeds to search for other options, moving aside from proper coordination, or “stomps” in confusion, not understanding what it is required. And only if the student feels that the coordination he has found is more preferable to him than others, he can take the risk and continue training it on his own and bring the purity to the required level, demonstrate it to the teacher. To exclude such hasty and reckless discarding of finds, the teacher should explain to the student what he should get rid of and allow several workouts with an unclean sound and, if there are shifts in the direction of improvement in the first trainings, tell the student about it and eventually the correct coordination. The most probable described drawback of the educational process with the vicious construction of relations between the teacher and students. The immaculate principle of teaching vocal is to form a search attitude in each student, similar to the search mood of a teacher, with the formation of a teacher-student team that has common goals, plans and together or one by one, but by a general principle that analyzes the tasks that the duo faces and the student’s progress in their solution, the compliance of the achieved result with the planned. The student learns in this process becomes the understudy of the teacher and, in the future, his change, and after leaving the educational institution he will be able to bring to the desired completion both voice casting and upbringing of an artist with wide professional and complex capabilities, bring his artistic career to the heights set by him by ourselves.

Alternatively, the teacher remains the teacher, and the learner remains the student for the entire duration of the training. The top achievement in such training will be the implementation of the curriculum and the mechanical assimilation of sound production and sound science without entering the search mode and without proper education of vocal hearing. In the future, such a student can no longer be replaced by a teacher due to the lack of a methodological base for vocals. Moreover, there are frequent cases when the achieved level of coordination of the voice-forming apparatus in an educational institution is confused, “loosens” over time, and such a vocalist will have problems with his voice. You can take a chance and take as an example the case of loss of voice by the former soloist of the Bolshoi Theater Voroshilo. As follows from the information of the media, the phoniatrists did not establish any illness of the apparatus, and this means that this case can be attributed to the alternative-mechanical version of the training. Although an error in determining the type of voice is not excluded.

Of course, Verbov is right in unambiguously eliminating the need for directing sound into a “mask”. However, this is not clear to all phonation theorists, but among practitioners and teachers of vocals, the fetishization of masking is flourishing in full force to this day. Mindlessly handed out recommendations to direct the sound into the mask is a hidden, not always understood by the teacher himself sabotage against the student. In this case, the essence of the matter is that the closest concentration of efforts to develop a masked sound to the teacher and student, helps to pass the exam in the specialty more or less successfully, but condemns the graduate with such sound formation to a colorless-gray professional activity on the stage. This is due to the fact that only the nasopharyngeal cavity is communicated with the cavities of the voice-forming apparatus in the human head. And if the teacher limits himself to including only the nasopharynx in the resonance, then the damage to the health and stage career of the future singer will be minimal. And much greater harm is associated with the desire to be included in the resonance, and even greater harm when the resonance of the maxillary cavities, frontal sinuses, not communicating with the cavities of the voice-forming apparatus, is reached. And this means that in order to introduce these isolated cavities into resonance, you need to amplify the sound so that it breaks through the bone septum, which is also “lined” with soft tissues, for example, with skin damping the sound. This can only be done with a heavily amplified sound - “OPE” (scream). It is well known that a strongly forced sound is inactive and very depleted in overtones, giving beauty to the voice. And the result will be absolutely disastrous for the beauty of the voice if excessive masking is reflected in its chest overtones. Since it is the chest overtones that give the voice an attractive aesthetic color (density, stability, physical fullness - “meatiness”, etc.), after excessive masking the sound becomes flat, colorless and empty, not affecting or warming the listener's soul, mechanical and cold . And if, in addition, the masking fetish is aggravated by an exaggerated lowering of the lower jaw, which, combined with grimacing to round the sound in the oral cavity, not only distracts the singer’s attention from controlling the vocal means of sound formation, but also makes him strain to cope with this “little heap” heterogeneous and incompatible requirements, for example - goggle. It is clear that in such a situation, it is not necessary to “de facto” talk about the dramatic and emotional playing-out of the image of the performed work, for the voice will control the singer, and not vice versa, as it should be. To resolve the controversy over the priority of head resonance, it is enough to analyze the location of the resonators of the human voice-forming apparatus, musical instruments and their relationship with the physical laws of nature. Although quite convincingly and thoroughly the statement by the famous teacher N. Iretskaya’s vocals in history sounds: “To not have a chest register means to have no depth, to have no depth - this means to not have a delivered voice”. It characterizes the attitude of the specialist in setting the voice to the priority of head resonance and its fetish. And V. Karelin, the author of a new theory of voice-setting, writes in his work: “A person’s voice is a gift (and creation) of nature and, therefore, must obey exclusively the laws of nature ...”. It is impossible to challenge this statement, it gives reason and requires comparison of the human voice-forming apparatus with the construction of musical instruments, which also inevitably correspond to the laws of nature and also contain resonators. It is enough to analyze their structure and functioning, as if, on a screen, the groundlessness and unnecessity of centuries-old debate about the type of breathing from the position of phonation and the interaction of parts of the voice-forming apparatus with resonators and resonators among themselves is manifested.

Keyboard strings (pianos, pianos, harpsichords, etc.), strings (guitars, mandolins, dombras, balalaikas, etc.), bowed (violins, cellos, double basses, etc.) have a resonator located as usually under the sound generator. A resonator with strictly fixed dimensions, shape and from a strictly specific material processed using special technology is performed. It is the fixation of the dimensions and material of the resonators that provides a stable aesthetic sound for hearing, amplified in a resonator having a frequency of natural resonance consistent with the frequency of the sound generator. A similar coordination of the resonance frequencies of the ligaments and resonators should be in the human sound-forming apparatus for their compliance with the laws of nature. But in the device there are differences from musical instruments, consisting in the presence of two resonators - chest and head with vocal cords between them. In this case, the cavities of possible head resonance have a constant volume and shape (frontal sinuses, maxillary cavities), the nasopharyngeal cavity also changes almost insignificantly. Changing the volume of the cavities of the thoracic resonance in breathing located under the ligaments is sufficient to change the natural frequency of the resonance and their hololobrazny system. Therefore, to maintain the natural frequency of chest resonance during the formation of a singing voice, and for speech phonation, it is preferable and even necessary to fix the cavities of the sound generation system in the resonance mode from the end of the inspiration until the phonation of the musical or speech phrase ends.

Thus, for phonation in general and for singing, it is all the more important not the respiratory phase (inhalation and exhalation), but the fixation of the respiratory-sound-generating system, unchanged in volume for the duration of phonation, namely between inhalation and exhalation to exclude oxygen starvation.

Undoubtedly, the great constraint of the singer’s posture is one of the disadvantages of the known methods of voice-over. In his “Voice Technique”, Verbov does not address the issue of the singer’s posture, which implies his solidarity with the widespread opinion that singing is possible only in a standing position. This opinion is logical, because in all countries, the rules of the old, then new Italian school prevailed, the singers of which sang while standing with one leg forward, as follows from vocal literature. Singing in a different position, necessary according to the script or the plan of the composer, singer, finally, was an insoluble problem. Over the past centuries, singers' abilities have grown to singing while sitting with some discomfort, and other poses used by the voice-setting technique remain problematic. We have to admit that singing in one specific pose is inexplicable from the point of view of the theory of sound formation and the functioning of the apparatus. The conclusion suggests itself that the “pose” is the same far-fetched “Susanism” as the role of breathing in phonation, even though the author of the claimed inventions has no motivation to classify it as far-fetched. However, there is his own experience and the most general almost philosophical considerations-guesses that have repeatedly appeared in the vocal methodology. I can easily demonstrate at any time and in any place the absence of any restrictions, and of my preferences, the most favorite pose for me is singing while lying, it makes no difference on my back, side, stomach, etc. Moreover, in the timbre of lying singing they appear additionally overtones adorning it. And there is a completely physiological explanation for this. In a recumbent singer, all the muscles of the body are naturally relaxed, as are the muscles of the voice-forming apparatus. But the muscle antagonists of the apparatus are subject to double relaxation - general relaxation from the posture and additionally relaxation from the managerial impulses from the brain. Naturally, in this position the energy generated by the body for singing and applied to the sound-forming muscles expends energy more efficiently, which is noticeable by ear.

From the analysis of the vocal literature available to the author, mainly 4 review editions of Dmitriev’s vocal technique, it follows that most of the work of Russian vocal teachers is a more or less accurate retelling of the methods for setting the voice of Italian schools and teachers to the extent that each of the authors perceives the norms and rules Italian techniques. Own original view of the voice is only in the works of Mazurin, Karelin and Verbov, in increasing order of originality. And in the Italian school, the “mask” fetish pushes breast resonance into the shadow of masking, as it follows from Dmitriev’s review, at least. In his publications there are the above general conclusions of I. Iretskaya and the same general guesses by Krzhizhanovsky on the relationship of resonators: “Dwelling on the question of why chest resonance is more excited on the lower notes and the head resonance on the upper notes, the author (Krzhizhanovsky) resolves it this way: the chest cavity, as the largest in size, contains a greater amount of air and “resounds” to the lower tones, and the epiglottis, while smaller, to high tones. With regard to the larger and smaller “echoing” of one or another resonator, the author makes a brilliant guess for his time. ” Also, at the level of conjecture, there is an opinion of our contemporary about the priority of breast resonance in the description of the method of teaching resonant singing according to US Pat. RF №2202831. Therefore, the claimed complex of inventions reasonably includes an explanation of the correspondence to the physical laws of phonation of the priority of including breast resonance and the automatism of balanced head resonance without the notorious "masking". Moreover, in the well-known method of voice setting in the most interesting of vocal works - Verbov’s technique - there is no analysis of the interaction of vocal resonators.

Reproaches for the exclusion of male voices from the three-register ones are most likely to be addressed not to practicing teachers, but to theoretical theorists who have studied phonation. That they "lost" the third register of the range of male voices. Dmitriev in three editions of his methodology allegedly cites Karelin’s opinion, which rejects any chances for the bass octave to form a singing sound production. But the very existence of octavists has no limitations in speech phonation. Moreover, the lower case of male voices has had and still has aesthetic application at present, albeit at the level of folklore. It is enough to recall the throat singing of some Siberian national minorities. On the other hand, if there is a bass octave in speech phonation and throat singing, there is an occasion for a question for both scientists and teachers. There are no anatomical differences in the sound production apparatus explaining the absence of a third register in men, then why did scientists dismiss the search for methods of forming a singing voice in the third register? There can only be one answer: the creative level of all phonation researchers turned out to be lower than their task. They could not overcome the psychological barrier, a phenomenon known in psychology, perhaps, all the centuries of the development of the science of phonation. But none of the scientists and teachers had such a problem, although the attractiveness of solving the problem of expanding the range of male voices to 2.5-3 octaves is worth the effort to solve it, and this is of particular importance for low voices. It is enough to recall the influence of a 3-4 octave voice on the fate of its owner, and the task of finding and finding a “bridge” between the two male registers in the male voices to the lower boundary of the bass octave, as the need to solve such a problem, becomes obvious. Nature itself in the person of speech-octavists periodically prompts the aforementioned searches, which can be confirmed by the speech bass-octaves of General Lebed, who died in the rank of the Krasnoyarsk governor or the president of one of the Caucasian provinces (it seems - Kakoeva).

The author’s personal experience in this direction can be considered the first attempt to experimentally verify the stated assumption, according to which, by the time the expert decision on the application is made, the result of attaching the third lower case to the bass range will already be clearly indicated.

There is very little literature on the methodology for assessing and predicting success in teaching singing and statistical data on the effectiveness of learning to sing according to the traditional methodology, it is especially impossible to find information on the number of spoiled votes by the teaching methodology. And this is understandable, because if the voice is unsuccessful, the teacher-vocalist can easily blame any failure for not following the recommendations of the methodology and bring a ton of other reasons, objective and subjective.

Known methods for assessing singing ability (giftedness) are characterized by subjectivity in assessing the parameters of sound formation, converting the sound of ligaments into a speech and / or singing voice, consisting of the level of formation of the teacher’s vocal hearing, at least with the analytical and integration abilities of auditory sensations acquired with the accumulation of vocal experience work. Evaluation methods containing a large number of phonation parameters are unpromising because of an increase in the inaccuracy of the subjective assessment, which grows in proportion to the increase in this number. Due to this unresolved contradiction of such methods - the aforementioned decrease in accuracy with an increase in the complexity of measurement - they remain an information tool in the best case with a limited scope for analysis and comparison among themselves, for example, two voices put in or having primary tone and / or interval, such as this is indicated by the author of patent 2202831. To predict the results of staged work with voice without primary tones and / or intervals, such methods are completely not adapted and useless. In the same way, well-known methods with instrumental determination of the levels of high and low singing voice formants are useless for forecasting (see AS 116458). The ability to read their level from the pointer of the corresponding channel of the pointer device significantly reduces the measurement time, however, the device for this has only two channels, and an assessment of these two parameters out of the required nine will not give an objective assessment. And the need to check the tone and / or interval set to the level of primary tones makes the possibility of using the device so distant that the relevance of such a possibility approaches zero, even if the production work does not ruin the student’s starting abilities.

In addition, other known devices do not perform the functions of active manualization, as, incidentally, the method according to patent 2202831 does not have direct active manualization of the larynx.

The group of inventions solves the problem of accelerating voice production with the simultaneous elimination of erroneous diagnosis of voice type and improving the efficiency of monitoring changes in voice parameters while simplifying diagnostics and controlling the type of voice in the process of setting with a simultaneous increase in the working range of the voice, simplifying the setting process and reducing the physical wear of the voice-forming apparatus during professional its application with a significant improvement in the aesthetic properties of the voice.

The technical result of the invention is to accelerate the process of voice production, simplifying the diagnosis and control of the type of voice.

The specified technical result is achieved by the fact that in the known method of setting the singing voice, which consists in the formation of the singing sound formation of the learner through vocal training, coordination of the muscles of his voice-forming apparatus, providing a high position of the sound of the voice, flight and supported by breathing, with sound support and priority inclusion chest resonance, according to the invention, voice production begins with monitoring the correct diagnosis of the type of timbre of the learner through manual movement of the larynx over the entire amplitude of its natural movement with stops at regular intervals, fixing it in each of them and checking the sound of the voice with the teacher’s vocal hearing, for example, or recording in each position on a magnetic or electronic medium for subsequent selection of the position of the larynx with the closest sounding of the voice to the sound of the voice of the masters of opera singing with a recommendation to the student to remember this chosen sound and its muscular sensations in this case and with the statement of the problem to maintain this sound through vocal training and with the automatic automatic setting of the larynx to the aforementioned optimal position for singing, the range is increased by successively purposefully introducing third-register notes at the lower end of the working range of the voice with simultaneous control of the sound of the upper notes of the voice range and fixing newly sounded notes with vocal training, with the development of the skill of phonon breathing and two-level thoracic reso nivations.

In vocal training, the larynx is manually set and fixed in the position optimal for this type of voice and set when controlling the timbre according to muscular sensations or according to the line of the device for manualization, and perform an exercise in the tonality of the lower part of the range, repeat the exercise in this tonality while maintaining the sound of the voice at free installation of the larynx by lowering the hyoid bone and fixing it in this position by the muscles of the sound-forming apparatus and after switching to another tonality up or down the range, then perform an exercise with sound preservation and free installation and fixation of the larynx in an optimal position, and in tones with impaired sound repeat manual installation and fixation of the larynx.

The larynx of the learner is set to the required position by finger movement of the Adam's apple for low voices by pressing its upper edge to move and hold the larynx in the lower position, and for high voices - by the lower side of the Adam's apple to move and hold the larynx in the upper position, and the optimal position of the larynx is determined according to the auditory sensations of the learner and / or teacher or the muscular sensations of the learner.

The larynx of the learner is set to the required position with the fork of a manual device mounted on the shoulder girdle and / or neck with buckles, a floor or desk device, while the teacher-vocalist together with the learner control the improvement of respiratory rate in the respiratory system and simultaneously fixation of the volume of cavities with the opening of the airways for moving and outputting sound, as well as the formation of vocal hearing and its use to eliminate the shortcomings of sound formation in the work of the voice-forming apparatus of other trainees.

Manual movement of the larynx for preliminary determination of the type of voice is performed over the entire amplitude of its movement with a sound check every 2-3 mm, and in the area of improved sounding by timbre, flight, sound strength or muscle sensation, the test is repeated with a movement of 1.5-2.00 mm

Thoracic resonance of the first level is formed by introducing into the resonance mode the cavities of the respiratory system - the supra-ligamentous and sublingual tubes, pharynx, trunk bronchi and alveoli of the lungs with their capillaries, the oral cavity and nasopharynx, and at the second level the lungs, musculoskeletal system of the chest are included in the resonance with the spine, diaphragm and abdominal wall with simultaneous resonance of all the mentioned elements of the second level or part of them.

For the formation of thoracic resonance of the first level, the technique of "ventriloquism" is used with the exception of exaggerated lowering of the lower jaw while simultaneously eliminating masking by mentally prohibiting acoustic transmission of sound into the mask, to enable the second level of thoracic resonance simultaneously with the reception of "ventriloquism", the volumes of the thoracic cavity and cavities of the supercord and sublingual tubes, and to develop the skill of maintaining coordination of the muscles of the sound-forming apparatus - on the lowest note of the worker the range of the singing voice on all notes, regardless of the tonality and pitch of the melody, after which the next newly sounded note or interval of the upper end of the range is added to the working range.

To create phonon breathing, the student develops the skill of short and vigorous inspiration, followed by stopping expiration and fixing the volumes of the chest, cavities of the respiratory system, diaphragm and pharynx for the entire time of phonation of a musical or speech phrase, recruiting them according to the plan of a singing, composer or stage director with a break air in the lungs and the ligamentous tube, with the sensation of pressing the sound stream to the rear half-cylinder of the ligamentous and ligamentous tubes, and after performing the phrase, the singing person makes a short and ergichny exhale all the air or remnants of his lungs, at least in the initial stage of setting, rolling in a breath for the next phrase.

The specified technical result is also achieved by the fact that in the known method of teaching resonant singing, which comprises the formation of singing sound formation through vocal training for the purposeful search and mastering by students with the methodological guidance of a vocalist teacher cantilena, muscle coordination of the voice-forming apparatus, providing singing sound formation and sound science of flight sound with improving the stability of the singing voice, consolidating this coordination to stable automatism with about free movement of the larynx to an optimal position for a given type of voice and fixing it in it for the entire time of phonation of each musical phrase or part of the hyoid-sternum muscles, with sequential rounding of the sound of ligaments in the pharynx with the tongue displaced into it and the root down and covering the entrance in the larynx with the epiglottis, with the natural diction of the text of the performed work, the subsequent movement of the rounded vowels of the sound in the throat into the oral cavity and the natural articulation of the consonants of the dictionary text in it a diet that ensures that the first phonetic resonance and then the head resonance is included in the phonation process, stabilization of the resonance with the predominance of the thoracic resonance in lower tones, and of the head in upper tones of the voice range at all sound levels from pianissimo to fortissimo, consolidating this coordination to stable automatism , with the control and exclusion of uncontrolled random transitions of the singing sound from rounded - covered to speech flat - open, colorful voice with the definition of t pa singing voice timbre at the beginning of the production of voice work with the formation of vocal hearing and professional psychological qualities of the personality of the singer, with the combination of learning, singing the educational and stage repertoire of predicted professional activities, according to the invention combined training in resonant singing and staging of a singing voice teacher-vocalist fulfills, realizing the principles of athleticism, the motor nature of phonation, the inconsistency of the physiology of phonation and its perception by hearing, causing which has a high degree of development of vocal hearing for the correct analysis of the singing voice when assessing its perfection or finding means to correct identified shortcomings, the principle of collective search with the creation of a search team, a teacher trained with each student or raising a general group search mode, spreading the principle of three-registering human voice to low, at least male voices with the principle of the sequence of the formation of the pure sound of each new note in the voice range , with occasional, at least, the use of a manual finger or instrumental installation and fixation of the larynx in the position required for singing and sound formation, with the formation of phonon breathing and the use of factors in the voice production that contribute to the formation of the singing voice - solo performances in concerts, physical loads, group and / or individual listening to the sound of the delivered voice with each student repeating the heard master voice, in combination and / or with the selection of the most effective ones for this particular student, and in the voice-setting work, the said search team concentrates efforts on the sequential formation of two-level chest resonance by, among others, receiving “ventriloquism” for resonance of the first level with maintaining coordination and muscle sensations of the lower note of the lower register in the process of phonation of notes of the upper register for the formation of resonance of the second level with the possibility of automatic connection the regulation and regulation of head resonance and the complete independence of the sound of the voice from the singing position, with the sequential introduction into the resonance mode of the sections of the voice-forming apparatus from the ligaments to the diaphragm with an increase in loads and the selection of preferred factors that contribute to the acceleration of the singing voice production, the formation of vocal hearing for each creative team, the student with the development and consolidation of the skill of independent duplication of the search, and using the methods of elimination collectively revealed the lack of voice for creating muscular phonation sensations when singing in the form of the appearance of a vibrational column in the chest, and the multi-resonance of the singing sound formation with the arrangement of the apparatus ligaments between the chest and head resonators.

The specified technical result is achieved by the fact that in the known method for determining the ability to form a singing voice, which includes determining the high and low singing formants in a voice, according to the invention, in the absence of a primary interval or tone in the learner’s voice, the teacher-vocalist conducts several trainings to familiarize himself with the speech voice the learner and establishing its range, after which the teacher and the learner choose one of the exercises, a work or part thereof and record the performance of its re voice, then test the voice with manual installation of the larynx of the student sequentially over the entire range of 2-3 mm to determine the area with the sound closest to the song, on which the test is repeated with the manual position of the larynx after 1.5-2.00 mm for clarifying the position of the larynx with a greater approximation to the singing sound, then fixing the larynx in this position, the student performs the exercise, changing the key through a semitone, tone, third or quadra to establish the initial range of the singing voice, its timbre, and then repeat the test with the manual positioning of the larynx and receiving “ventriloquism”, evaluating the result using the teacher’s vocal hearing, recording sound or measuring the frequencies of high and low singing formats to analyze them and deduce the prospect of setting the voice and its parameters with taking into account the muscular sensations of the teacher and the teacher’s vocal hearing, periodically adding to the first control recordings recorded after each sound improvement using the introduction of notes in the vocal training mode izhnego third register and mental prohibition of transmission of acoustic sound of the voice component in the "mask".

The specified technical result is achieved by the fact that in the known device for teaching resonant singing and staging a singing voice, made with a means of reposition it with a voice-forming apparatus, including a guide, pads and means for contacting the larynx of the student, according to the invention, the means for contacting the larynx is provided with a stop with a fork, mounted on a guide with the ability to move along it to move the larynx to the position required for a given type of voice and fix it in this floor zhenii for phonation time, the gasket placed on the fork, and the guide has at least one line for controlling the position of the larynx, and means for repositioning the device with the voice-forming apparatus configured portable or desktop or floor.

The portable means of reposition has a support element for placement on the student’s head at the level of the forehead, made in the form of a circumferential belt with a buckle having the ability to change and fix its length, and a transverse belt connected to it in the middle of the lateral sections, at the ends of which the upper ends of the side guides are fixed in the form of rods, the lower ends of which are connected to the corresponding lateral portions of the shoulder or chest belt, while on each rod there is a sleeve with the ability to move along it, and the sleeve connected to the cross member, which is installed in the middle of the plug for cooperation with an upper or lower edge of the front side of the Adam's apple, bushings have locking screw and rods - millimeter rule digitizing every fifth or tenth risks.

The supporting element of the floor or desktop device has a guide rack with a cross at its lower end for mounting it on the table in front of the student or on the floor, while the ends of the fork are equipped with straps for placement on the student’s neck, with means for fixing their length, and the ruler is located on the side stand facing the learner, under the bracket for installation and fixation on the support stop with a fork at the end, equipped with gaskets for contacting the front side of the Adam's apple.

Due to the exclusion of the notorious “ORA” in the staging and subsequent professional activities, the principle of athleticism includes a gradual increase in coordination with the release of phonation from the overloading elements of the voice-generating apparatus by Crick, the load of vocal training in series with the transition of the student in each next year of training both in improving the technique of performance, and increase in volume, bringing them in the second or third year to the intensity of training in schools of the Olympic reserve with morning and evening training and with a gradual increase in the load in these trainings, but with a constant limitation of the volume of maximum loads, both vocal, physical and emotional, in regular solo performances on an amateur and / or professional stage with solo, ensemble and / or acapel numbers and the selection by each student of the most preferred for him a set of contributing to the voice of the mentioned factors and the determination of the frequency and / or volume of their application, as well as the most effective elements of each of them, and when ochetanii factors of a set of execution they are grouped with the division of the groups in time.

To eliminate the contradictory perception of the singing voice by hearing, which leads to a substitution of the causes of sound production by the investigation and subsequent issuance of recommendations - Susanisms (not leading to the goal when using them or reducing the quality of the result, with a slowdown in receiving it), the vocational-teaching collective “teacher-student” is especially carefully searched works on the formation of vocal hearing, for which the teacher draws the attention of the student to the differences in the sound of his voice on separate notes, phrases from the classical sound of go a los of this type, it offers the methods of sound formation necessary to eliminate the aforementioned drawback, and after several workouts with their application, they jointly compare the effect of the means used on the sound quality, after which, if the result is positive, the teacher assigns the student to independently fix the correct sound, for example, in home exercises, the repertoire being studied, in preparation for academic concerts, performances, and with a negative result, jointly decide on the application another technique, with the need to change the technique to a positive result both in voice quality and in the development of the learner’s vocal hearing and before practicing the ability of resonant singing without the mentioned drawback on average sound strength while maintaining resonance on piano, which can be considered the completion of the elimination of the drawback .

The principle of collective search is carried out by the teacher-vocalist, seeking the research spirit of each student and consciously searching for the best sound production with each student developing an understanding and the ability to independently duplicate the teacher’s methods in choosing the means for developing the necessary qualities of the delivered voice in the voice, developing vocal hearing among his colleagues and a joint analysis of the results achieved, especially after several vocal trainings using a new exercise, introduced making adjustments to the training regimen, searching for the causes, existing shortcomings and means of eliminating them, for which the teacher suggests that each student, after jointly eliminating their lack of sound education and sound science, analyze the sound of the voices of his teammates (circle), one of them to offer a technique (s) to eliminate it and, together with this comrade, conduct a series of training additional results with a gradual transition from known shortcomings means of their elimination on the new disadvantages, tools (techniques), exclusion techniques that are familiar to the student.

The way of setting a singing voice is to form a vocal training to coordinate the work of the voice-forming apparatus, which ensures a high position of the sound of the voice, flying and supported by phonon breathing, with support and the primary inclusion of chest resonance to increase the range of the voice, sequentially enter the notes of the third into the range of working notes like three-register female voices lower case male voices mistakenly classified as double-register without any anatomical distinction between female and male voice-forming apparatuses, considering the end of the lower register of male voices, put by the traditional method, not the final, but a transition note between the middle and lower register, with the location of the second transition in men in the lower part of the range with a total increase in the range of working notes to 2, 5-3 octaves due to the lower register and one and a half tones of the upper register at the same time, for which, in the work to increase the range of voices with a primary tone or interval, the larynx is manually set to a new floor for it It occurs occasionally, at least in the first training session, after each introduction of a new note located above or below the upper or lower end of the working range of the voice with subsequent training of the automatism of this movement and the inclusion of the next adjacent note or interval after the previous steady sound level similar to the sound of other working notes of the range.

The method of setting a singing voice consists in the formation by vocal training of coordination of the work of the voice-forming apparatus, which ensures a high position of the sound of the voice, flying and supported by phonon breathing, with sound support and the primary inclusion of chest resonance, chest resonance of the first level is formed by introducing into the resonance mode of the respiratory system - add-on and fake tubes, stem bronchi and alveoli, lungs with capillaries, and for the second level in the resonance include l Easy, diaphragm with musculoskeletal system of the chest and spine with simultaneous resonance of all the listed elements of the second level, several or one of them, at least.

A way of setting a singing voice is to form a vocal training to coordinate the work of the voice-forming apparatus, which ensures a high position of the sound of the voice, flying and supported by phonon breathing, with the primary inclusion of chest resonance, and the active fixation of the larynx in the required position for sound support is worked out by manual installation and fixing it to the position determined during the control of the type of voice, remembering this position and the sound of the voice by auditory, muscular sensations or indications from the ruler of the manipulator (device for instrumental installation and / or fixation of the larynx in the required position), attempts are made to repeat this already heard sound with the natural installation of the larynx in the aforementioned position - lowering the hyoid bone and actively fixing it in this position with the shield-sternum muscles, and if it succeeds even on the first attempt, further training is performed with a natural installation of it in a lower position by lowering the aforementioned bone or repeat the active installation of its finger manualization as many times as needed to practice lowering the hyoid bone with stable fixation in this position for the entire phonation of at least one musical phrase or its part and inspiration between phrases, including using the known manual control of the larynx position necessary.

In addition to the aforementioned principles of teaching singing, the student applies anti-masking, including, together with the spread of breathing in the respiratory system and fixing their volume during phonation, at least singing of the airways, the learner sequentially moves the muscular sensations of sound formation along the virtual sound column in the sternum, periodically achieving, at certain intervals of training, the vocal displacement of this sensation from the ligaments to a neighboring, ever lower section of the column, trying to bring it about Feeling to the diaphragm and securing automatic sound generation in this position.

For finger manualization - manual exposure of the larynx when controlling the type of voice and in voice-setting operations, the singer presses the finger on the upper edge of the Adam's apple (Adam's apple) to move and hold the larynx to the upper edge of the Adam's apple (Adam's apple) to move and hold the larynx in the lower position for low voices (baritone, bass) or on the underside of the Adam's apple tongue to move or hold the larynx in the upper position for high voices (tenors), imitating the manual manipulation described in this paragraph and installation of the larynx female voices by acting on an arbitrary portion of it (for mezzo-soprano, soprano, coloratura soprano, etc.).

Instrumental manualization for controlling the type of voice and in voice production is performed by moving the larynx to the desired position, acting in the manner described above on the upper edge or the lower side of the ledge of the Adam's apple tree with the fork of the manipulator, moving the fork around the rack and holding it in the desired position for the duration of the control or performing vocal exercises with determining the position of the larynx according to the divisions of the ruler or rack of the manipulator.

Instrumental installation of the larynx in the required position is carried out by a manipulator, mounted on the shoulder girdle, head and / or neck with straps with buckles or elastic inserts.

The learner independently or with the methodological guidance of the vocalist educates the phonon breathing, achieving the correspondence of the phonation time of the speech (verbal) and / or musical phrases inhaled by any of the air methods known to him and convenient for him, with a short and energetic breath, while maintaining the voice-forming apparatus in coordinating singing phonation and the respiratory system in the inspiratory position, at the same time begins the execution of the phrase, stopping exhalation through the nose and slowing down as much as possible - stopping exhalation (ideally - until it stops completely!) h oscillating ligaments (folds) to the end of the sentence with the composer's melodies (pauses, etc.), the requirements of the script, direction, or emotional and psychological intentions of the performer, necessary, in his opinion, to create an artistic image of listeners with control and while providing support for phonon respiration - fixing the volume of cavities with minimal air leakage from the respiratory system, with a short and vigorous exhalation of air residues from it after completion of the phrase, turning into such f a short and vigorous breath corresponding to the following phrase, for example, musical, followed by phonon stopping the expiration to the end of the phrase while fixing the volume of the cavities of the respiratory system and the related musculoskeletal system (chest, diaphragm, abdominal and back walls) for everything phonation time of each next phrase.

In phonation breathing, inhalation is performed in 0.3-0.6 seconds, respectively, of the duration of the upcoming phrase, exhalation after the end of each next phrase in 0.15-0.4 seconds, and a phonation (song) pause in 40-35 seconds.

In the variant of phonon breathing, the learner conducts singing based on breathing, guided by the desire to ensure the sufficiency of the volume of inhaled air for the entire duration of at least one phrase, mentally setting himself the task of breathing while expanding and maintaining the pharynx and larynx in this position. trachea with stem bronchi, at a minimum, with the control of all changes in sound formation and sound science with highlighting from them improvements in sound-timbre, flight, sound strength with cover and roundness for the aftermath memorizing those muscle sensations that appeared simultaneously with the marked improvement, fixing them (improvements and muscle sensations) to achieve automatism of repetition by subsequent training.

After recording the sound at the end of a series of trainings with manual setting of the larynx to the optimal position, the teacher-vocalist compares the student’s voice recordings before and after training with the help of his vocal hearing, identifying the changes in sound revealed during listening, draws the student’s attention to the mentioned improvements in each case with the aim of forming the vocal the student’s hearing, also with him predicts a tendency in the development of voice formation, which is checked by listening to the first two mentioned and the subsequent recording B after a series of training or organoleptically evaluate the dynamics of the progress of voice training, introducing the necessary adjustments to the staging job to control the level of formant in timbre appear or incipient singing voice student.

A method of forming the support of sound, in which the student presents his chest as an empty barrel, and the diaphragm as its bottom, after which he mentally “throws” each sound of his ligaments to the bottom of the diaphragm, while achieving resonance not only in the pharynx, trachea, bronchus of the stem, pulmonary bronchi and capillaries with their cavities, but also of lung tissue, musculoskeletal walls of the chest, back and abdomen with a diaphragm in the first or subsequent workouts, and the sound of resonance of these parts of the chest (one, at least one or several of this set) conn with a head resonance, for which purpose this powerful sound, generously colored with overtones of natural frequencies, is automatically transmitted through the musculoskeletal system of the neck to the closed head cavities (maxillary and frontal sinuses), which also automatically “resonate”, adding low overtones to the aforementioned tone singing formants their overtones of high singing formants, and in the complete absence of any hint of OP, thereby creating a single sounding system with a very balanced, automatically adjustable m singing voice with ease (and optimal light) mode of voice-operation mechanism, ensuring its durability even under high loads it.

To include in the phonation of chest resonance, exercises are used with the singing of the aforementioned musical works or exercises, preceding the first note of the training singing, groaning, mooing (yelling), but the singing is most effectively used for this from the preliminary installation of the voice-forming apparatus in the coordination of “ventriloquism” for singing the first note of the phrase and maintaining this coordination for the entire first sentence and, if possible, subsequent ones with the control of maintaining coordination of ventriloquism by the received sound on the first note and comp the sound of subsequent notes and phrases with the sound of the first, trying to maintain the timbre, strength and flight, cover and clarity of diction of the first note to the end of the first and subsequent phrases at the same time as improving sound purity at each subsequent exercise, training in this coordination until the clear sound is turned into automatic a mode characterized by a free, easy repetition of the coordination of “ventriloquism”, but with the formation of a voice that is already pure, more flying, and richer with beautiful overtones and noticeably more powerful in terms of e sound with stable muscular sensations of vibrations of the “virtual column of vibrations” vertically located between the lungs, formed from the addition of resonant vibrations of the lungs and receiving it with an increased amplitude of vibrations in this band, which has no respiratory or resonant cavities, with automatic connection being controlled into this sounding system of head resonant cavities, in particular, the nasopharynx, while limiting the occurrence of vibrations in the “mask”, since such a feeling is in closed head cavities S THE evidence of resonance phenomena caused by all unacknowledged Oromia! - the student performs all vocal training in breathing, with a phonation pause after an energetic inspiration, maintained until the end of the musical or speech phrase of the performed work (exercises, vocalization, solfeggio, etc.), expiration after the completion of the phrase in all (ideally!) or the remainder of the air from the respiratory system, regardless of the position it occupies.

The maximum flight of the voice and the automatic predominance of overtones of the low singing formant in the sounds of the lower register and overtones of the high singing formant in the sounds of the upper register are provided by preserving the coordination of the voice-forming apparatus when singing lower register notes and when the melody is switched to upper register notes and increasing the disclosure of the lowest pressing of the moving up the sub-ligament and super-ligamentous tubes of the sound stream - a low singing formant and moving counter-first y, the flow of the high singing formant to the rear semicylindrical wall of the aforementioned subglottic and superligament tubes, respectively, with a smooth rotation of these flows into the oral cavity and their parallel-coordinated movement in it with their free exit from the naturally opened oral opening with an increase in the kinetic energy of the total flow without special forcing sound for this and the load on the voice-forming apparatus or with the flow of the low singing formant moving up to contact with the soft palate and merged it thus high singing formant steer with the total flow through 180 ° and moving it down to the oral cavity, the flow deviation in and output it therefrom.

The way of setting a singing voice is to train sound formation and sound science in coordinating the voice-forming mechanism, which provides a high position with support for phonon breathing and sound by pre-listening to recordings and performances of world famous singers or without it, but with a beautiful timbre, with flying and vowels rounded in the throat , naturally articulated consonants in the oral cavity, a cantilena with chest resonance is provided by repeating the heard voice, with To demonstrate the purpose of staging and forming the learner’s vocal hearing, a specially selected music library of different voices or a previously recorded music library of one singer’s voice, the voice type of which matches the student’s voice type, and the recordings are made after each improvement of his (master voice) sound production obtained in training for through the development of any of the factors used in training to improve sound formation, while doing physical exercises in gyms, household or industrial Work excludes exorbitant loads that exceed the maximum available for the one performing the work, preferred for all are running at an average pace, walking at a sports pace, walking uphill to high floors of tall buildings, health gymnastics, as well as gymnastics - vibration Mikulina and high-frequency Maxinio, games on fresh air ”, in the halls and on the beaches.

The work of setting up a voice begins with a review listening to the whole course or group of the institution in sequence of all the improvements that distinguish the sound of the master voice, fixing the attention of the listeners to the differences in the sound of the master voice from the voices of the listeners, highlighting the general and personal differences of each of them, while also setting two types of tasks: to repeat the first or second record with your voice or to find the sound of your voice in the coming days, more appropriate to the sound of the master voice in the first or second record and emphasizing the standing Each of them has a task — this also includes two types of tasks: to repeat the first or second record with your voice or to find the sound of your voice in the coming days, more appropriate to the sound of the master voice in the first or second record and emphasizing the task facing each of them - achievement sound education and sound science, respectively, is preferably closer to the last recording of the master voice with fixing them to lessons in the institution and / or in home training, followed by listening to the achieved improvement in the voice of the teacher trained an oculist working with him, who, in the presence of improvements, fixes the learner's attention to them with the recommendation of exercises to consolidate and develop the improvement achieved.

After performing the exercises to consolidate the improvements obtained after general listening, repeat listening to the master voice, grouping the students by the timbre of the master voice (only bass, only baritone, only tenor, etc.) with fixing the attention of the students to improvement and methods for achieving it with assigning a series of home workouts to obtain the required improvement and fixing it to each of the listeners.

After a second specialized listening to a master voice, students with insufficiently formed vocal hearing who have not heard or repeated the features of its sound production, as well as after an additional theoretical explanation of the operation of the voice formation mechanism, repeatedly repeat individual listening sessions or with periodic shows by the teacher of methods for receiving sound education of the students' voice with the possible approaching the sound of their voice to the sound of a master voice with a finger or instrumental ma ualizatsiey, while stable delay improving sound production after a series of exercises performed after individual auditions lagging additional trainees repeat monitoring a manual determination of the type of voice to confirm the correctness of determining the type of the previous vote.

In voice production, a set of recordings of the sound of the master voice is used, pre-prepared by recording the delivered voice with artificially introduced sound defects by eliminating from the phonation of the master voice in each version of its sound one of the elements of sound formation, for example, respiratory support, sound support, chest resonance, diversity of voice, vibrato, etc.

The recording library is performed sequentially, recording the voice of the student successfully mastering the singing sound formation for listening to it by others who are less successfully mastering the training program, recording the sound of the voices of which, after the next improvement, is compared with the corresponding step in the recording of the master voice and the listening of the delivered master voice is repeated, making a comparison at this by phonemes or other musical, for example, elements (phrase, note, etc.) or through voice recognition (identification) singing about (saying), as well as with the analysis revealed differences in zvukovedenii / education and development of exercises to introduce the student is absent formant, spectral envelope, and the like characteristics of the sound of voices

Simultaneously with the demonstration of the visual image of the sound formation of the master voice, for example, on the spectrograph’s screen on the second screen of his or the second PC monitor, the learner’s voice is played with or without sound, with digital processing and identification of their voices.

When conducting vocal training by an amateur choir, he independently or on the recommendation of a vocalist, excludes the influence of the open and / or motley voices of the rest of the choir, the overwhelming majority of which sings with speech timbres and does not control the cover of sound with a host of other defects in sound formation, for which he chanting of the choir is removed to a room where the choir’s singing does not penetrate and performs individual chanting in it with the use of manualization if necessary.

The method of setting a singing voice consists in the formation by vocal training of coordination of the work of the sound-generating mechanism, providing a high position of the sound with support of breathing and sound, with natural rounding and articulation, providing a range of voice sufficient for professional use, if there is a primary tone or interval in the learner’s voice the range is provided by adding to the notes of primary sounding closest to the limiting notes of the existing range, in male voices the advantage Actually, lowercase notes, with each successive note of the range entered into the work, the stages of training are performed with the absence of voice sound on this new note of the range for several trainings, then the stage of the appearance of its unclean sound with a gradual improvement in purity to close to the working sound of the rest notes of the range and its transition to the category of the main range as quite working with accelerating the appearance of sound and improving its purity, by manually setting the larynx to a low position for low and high output for high voices.

The way of setting a singing voice is to form a vocal training to coordinate the work of the sound-generating mechanism, providing a high position of the sound with support for breathing and sound, natural rounding and articulation, providing the range of voice necessary for professional use, if there is no primary tone or interval in the learner’s voice, manually exposing the larynx at a certain interval over the entire amplitude of its movement, determine the type of voice of the learner, write to the carrier about the initial sound of the speech voice and, having determined the interval of stress-free notes of his speech voice, make up a production work plan and a repertoire of vocal training or a set of exercises for developing the work of the voice-forming mechanism for subsequent output to a primary tone or interval with subsequent expansion of the range, while combining staged exercises and training to increase the range, for a temporary sample of sound, the student and his teacher take the one closest to the singing sound not trained, the note of its working range, the learner and teacher remember this sound with their vocal hearing and the muscular sensations associated with this note, respectively, then the learner concentrates his efforts, and the teacher controls the preservation of this sound on adjacent notes of the range for the first training sessions, followed by its distribution to the entire tessitura of the performed works, exercises or their parts used in current training, then to the entire available working range, for which it is preferable as a model take notes of the lower register and their muscular sensations, after which, through each subsequent training, he works out the stability of the said preservation of the pattern of coordination and sound until they develop a complete, easy and free automatism of them in the range note with the highest limit register, followed by switching to notes adjacent to the working range voice notes described staging exercises continue until a singing voice appears, usually reduced by a tone and a half in lower and upper registers compared former speech, for the translation of which into a singing voice, two or three workouts are enough, which can be facilitated by rounding to the ideal circumference and expanding to the maximum possible diameter at the moment according to the muscular sensations of the successively upper, middle and lower sections of the pharynx, then of the larynx, trachea, bronchi trunk, pulmonary bronchi, including capillary, as well as manual installation of the larynx in the required position and holding it in it for the duration of phonation until the transition to independent automatic installation her and at the extreme notes of lower and upper registers, respectively, an extended range of up to 2.5-3 octaves of singing voice.

A method for a comprehensive assessment of the ability of a voice-forming apparatus to form a singing voice includes determining the relative level of high and low formants in it, in the absence of primary tone or interval in the learner’s voice, the expected type of voice is determined at the beginning of staging or expanding the range of the voice in the presence of one of them and is periodically monitored the initial conclusion about the type of voice during the production of it, for which the sound of the voice recorded on a magnetic or electronic medium is compared and the natural free position of the larynx with a similar recording made with manual movement of the larynx and fixing it in each position over the entire amplitude of free and natural movement with equal intervals of movements, for example, after 2-3 mm, then as a result of the aforementioned sound comparison determine the area of movements with great improvement in sound generation, for example, the lower section of the amplitude of movement of the larynx and repeat the recording of sound in this section with lesser movements of the larynx, for example , - after 1.5-2 mm, and comparing the sound of two recordings, determine the specific position of the larynx, in which the sound is closest to the professional sound of voices of this type, for example, to the sound of the opera, chamber, ensemble-pop, folk folklore or choral, with insufficiently clear expression of overtones that characterize the type of voice in two recordings, the teacher repeats the recording on the identified optimal section of the larynx position and individually or by consilium analyzes the sound of the voice and predicts the result by voice setup, outlines a training plan for voice training and discusses his forecasts with the student, making adjustments to the first stage plan to take into account the student’s wishes, conducts the first series of vocal training exercises with the larynx being manipulated to a certain optimal position with phonon breathing performed using “ yawn "for rounding vowels in the throat and natural articulation of consonants in the oral cavity, while practicing the coordination of the voice-forming mechanism using the" belly “for primary inclusion in the phonetic phonation of chest resonance, while simultaneously providing the sound with the opportunity to freely reach the nasopharynx for automatically and dosed incorporating the head resonance into the phonation and thereby create a unified sounding system with automatic control while the prevalence of the lower register overtones of the lower formant, and in the timbre of the high register of overtones of the high formant, the recording of the sound of the voice is repeated after the entire series of training to or after a noticeable improvement in sound generation - timbre, sound strength, flight, lightness and naturalness of articulation with sound control in one or two positions of the larynx on the opposite side of the amplitude of its movement to confirm the correct conclusion about the type of voice from the previous (s) control (s), while achieving a similar sounding voice and with a free installation of the larynx in the aforementioned optimal position with bringing this setting to automatism.

A portable larynx reposition device (manual) is made with a head support element made of a circumferential belt with buckles or the like for changing the length and fixing its length at the level of the forehead and connected to it in the middle of the lateral sections of the transverse semicircular belt at the ends of which the upper ends of the side rods are fixed and their lower ends are connected to the corresponding lateral sections of the shoulder or chest strap, a sleeve is installed on each rod with the ability to move along them, the bushings are connected pop A pedestal with a fork in the middle to interact with the upper or lower edge of the front side of the Adam's apple (Adam's apple), the bushings are equipped with a fixing screw in the threaded hole, and the rods are provided with risks through every millimeter with digitization of every fifth or tenth of them.

Manual determination of the type of voice greatly increases the possibility of guaranteed identification of promising outstanding voices with potentially outstanding quality and abilities of professional use even in the absence of a primary interval or at least a tone with the possibility of multiple reduction of the time required to teach resonant singing to the holder of such a voice. The absence of susanisms in manmethodics, phonetic breathing with the exception of the fetishization of any known type propagated by a well-known technique, the automatism of including cavities in the resonance of the head cavities provides the maximum enrichment of the timbre of the voice delivered according to manmetodics with overtones, which give it very attractive beauty, flight, strength and warmth throughout the voice range increased up to 2.5-3 octaves with the simultaneous elimination of the “inveterate” error of pundits - who studied phonation and proclaimed men s two-register to vote. The principle of manmetodics searchability guarantees long-term success in the professional use of voice with the exception of the notorious yaw even when it is used with high daily loads without overvoltage of the voice-forming apparatus. The formation of vocal hearing in students in the training of singing and staging the voice also makes a significant contribution to the singer’s upbringing, with the exception of grimacing for rounding sound with the release of facial muscles for emotional accompaniment of the image of the performed work created by the singer with vocal means in full accordance with the design of the composer, director and singer simultaneously with an extremely expressive and clear verbal diction. The automatic provision of natural articulation redistributes study time, freeing the lion's share of it from the technological long drill of breathing techniques, rounding the sound and increasing the time and effort to creatively search for the most successful stage embodiment of the work performed, study of historical sources for reproduction of the era depicted by the work.

In figures 1, 2, 3 and 4, respectively, are shown diagrams of respiratory breaths of calm, emotional, and phonational, figs 5, 6 - the location of the fingers on the Adam's apple for moving and fixing the larynx when using finger manipulation to control the type of voice or in performance voice with the movement of the larynx up and down, respectively, Fig.7 shows a conditional frequency diagram of the components of the chest and head resonance. On Fig - arrangement of the vocal "pillar" formed by the addition of resonant vibrations of the right and left lungs, Figs. 9 and 10 are diagrams of theoretically optimal movement of the low and high singing formants of the delivered singing voice and, accordingly, the muscular sensations of the singer.

11, 12 - desktop device manual movement and fixation of the larynx in the appropriate position for this type of voice (manual), Fig.13 - portable manual. On Fig - comparative diagram of energy costs for the phonation of voices put by manual or traditional methods, their resonant frequencies and the diagram of speech phonation.

The claimed methods of teaching resonant singing and staging a singing voice are as follows.

Example 1

The goals and objectives of teaching resonant singing according to the methodology remain the goals and objectives known in the traditional method: the formation of singing phonation with cantilena and breathing, which ensures the physiological performance of the singer’s body with sound support, ensuring the equality of the sub-air pressure in the respiratory system, the closure of the oscillating ligaments, and the stability of the resonating ability voice-forming apparatus, with the separation of the rounding of vowels of sound in the throat and subsequent natural art kulyatsii consonants in the oral cavity with guaranteed except while masking sound, sound grimacing for rounding (which is widely used in traditional method of reception of the "boat", and the like), an exaggerated descent the lower jaw ( "Antirrhinum") and notorious ora.

However, the totality of the claimed methods of teaching resonant singing, staging a singing voice and a comprehensive assessment of the ability of this feature is characterized by four types of them:

- Signs known in the teaching methodology and voice production, successfully applied by practitioners (cantilena, sound rounding, resonance, etc.);

- methods of teaching singing and staging a singing voice, known in the methodology, but not practiced by the practitioners (separation of rounding and articulation, etc.);

- the absence of erroneous and harmful principles and techniques that reduce the rate of voice production, reduce the quality of the timbre of the resulting singing voice and lead to a forced mode of operation of the voice-forming apparatus with a decrease in the reliability and durability of its work (op, masking, grimacing with unnatural articulation, etc. .);

- new principles and techniques, eliminating the error in determining the type of singing voice, accelerating the setting without reducing the quality of the timbre with an increase in functionality and durability (principles of athleticism, collective searchability, the sequence of formation of pure sound formation; techniques for manualization, ventriloquism, etc.).

Training in resonant singing at an educational institution begins with a general review lecture for the entire course of the vocal department for students of all types of voices and specializations - opera, opera and variety faculties, where they are informed about the goals - mastering resonance singing with a brief analysis of the principles implemented in the educational process to achieve the goal facing the teaching staff and each student. These are the principle of collective search, athleticism, and three-register voices, including men’s, for the formation of pure sound in the process of expanding the range of the singing voice to 2.5-3 octaves, including in the third register of the lower section of the working range of the voice using finger or instrumental manualization, with the subsequent ranking by each teacher-vocalist of the readiness of students of their class for the practical implementation of these principles - in the category of psycho-emotional ability access to the integrated development of resonant singing and the personal qualities of the singer with the development and development of phonon breathing with the simultaneous and indispensable elimination of masking, grimacing for rounding the song sound, exaggerated lowering of the lower jaw and the formation of a two-level resonance, including through the use of ventriloquism.

A leading review of tasks and methods for solving them illustrates your performance with a sample of resonant singing by modern or historically famous singers with comments most clearly and / or convincingly sounding with an explanation of a more detailed analysis of such illustrations in classroom exercises. Psychologically justified will be the use for this voice of a graduate of this educational institution.

For example, to demonstrate the difference between phonon breathing and ordinary everyday breathing (Fig. 1), emotional speech (Fig. 2) and airborne (Fig. 3), it is advisable to use tablets, transparencies, video cassettes with phonon breathing diagrams (Fig. 4). It consists of sections 1 of inspiration, expiration 3 with a phonation pause 2 between them, for example, a song. Such a comparison of the schedule of the listed breaths virtually eliminates the need to prove the advantages of phonon breaths and allows us to limit ourselves to a minimal comment in this part of the review.

The tendency to neglect the physical improvement of the physiological functioning of the human body through physical exertion with a bias in spending time mainly in the spiritual sphere is a kind of aesthetic and psychological Susanism. To confirm this conclusion, it is enough to recall the statement of I. Sechenov that “singing in its physiological nature is one of the types of muscle movement”; “Every musical performance always proceeds in the form of emotionally colored movements” and “all the infinite variety of external manifestations of brain activity is finally reduced to one phenomenon — muscle movement” (see ed., USSR Academy of Sciences, M. 52, I, 1, p. 9 )

The relevance of the principle of athleticism is not only to facilitate professional singing after mastering the profession: a student in good athletic form is easier and quicker to voice and has time to prepare a more extensive repertoire for the curriculum and can allow a greater burden on his voice without compromising health and quality execution. Athletism, together with the exclusion of masking and ora when applying manmetodics in the singer’s future life and work, ensures a long and successful world-class singing career, since a more rational phonology of phonation formed by manmetodics eliminates the forced wear of the voice-forming apparatus with the maximum manifestation and long-term preservation of overtones that give beauty and strength of voice, and provides the opportunity to force the learning process similar to the training regime of sports schools of Olympic p reserve with morning and evening workouts. The factors contributing to athletic phonation can be accelerated further by factors such as solo performances, physical training of the whole organism and its systems (hearing - listening to voices) with a combined and / or individual influence.

The formation of vocal hearing in the process of teaching singing and voice production additionally significantly increases the professional activity of the singer after the end of the stage of his career with the possibility of pedagogical practice, for which he develops experience and vocal hearing with the practice of applying the knowledge gained in the educational process manmetodics for solving specific phonation problems of their own and those of fellow students. And the total return on his professional activity many times increases due to the demand for his services even after he passes the line of longevity. Manual installation and fixation of the larynx in the desired position of the finger (Fig. 5, 6) or instrumental (Fig. 11, 12, 13) also significantly speeds up voice production and / or extends the working range to 2.5-3 octaves, which ensures redistribution of the training time to expend 80% of his work on preparing a repertoire of the singer's future professional activities, which, in turn, allows you to raise the level of professionalism by increasing solo, ensemble performances on the stage of the educational institution and other stage venues. And such a significant increase in the working range also significantly expands the singer's performing abilities and, which is especially important, while maintaining the entire aesthetic palette of vocals and even multiplying it.

The elimination of erroneous definitions of the type of voice at the beginning of the voice setting additionally reduces the time of setting, at least by eliminating the time spent on setting up a nonexistent voice and creating a complex of uncertainty in the strength and capabilities of the learner associated with such an error.

The reception of “ventriloquism” also significantly accelerates the production of a singing voice by accelerating the formation of resonance of both levels, which, simultaneously with an increase in the “spectrum” of overtones of the singing timbre, will significantly improve voice quality and facilitate the functioning mode, and eliminate wear on the voice-forming apparatus. The naturalness of articulation of a rounded voice in the throat further enhances the advantages of manmethodics, completely freeing the singer's facial muscles from the grimaces of sound rounding inherent in rounding it in the oral cavity with simultaneous articulation. And this separation of rounding in the throat and articulation of consonants in the oral cavity according to the methodology creates the possibility of combining the creation of the image of the performed work with vocal and dramatic means by one singer without “duplication” in the cinema of a pictorial row of vocal parts by dramatic actors.

Example 2

To implement the principles of teaching singing and staging a voice that are listed in Example 1, each vocal teacher in his class ranks the students in groups according to their degree of readiness for the professional use of their vocal data and accordingly plans a work schedule.

The first group includes those students who have a sufficiently wide primary interval or a set voice from nature, or previous training at an educational institution (music school, for example) or at a tutor on an individual program or who have revealed in the first familiarization practical exercises (listening) the ability to master a new vocal material, namely, those who showed interest and the ability to simultaneously master vocal-technical tasks in coordination with the dramatic means of this decision Niya - creating a holistic and convincing artistic image of a vocal work performed. The main in the volume of work with this group are repertoire training with the formation and consolidation of cantilena, and the second in volume will be work on expanding the range to 2.5-3 octaves. The most effective for solving this problem will be vocal training in singing separate phrases that sound most successfully and aesthetically when playing music that has already been sung and included in the repertoire with double repetition of this phrase and / or verse (for example, a Russian folk song) and a sequential change in tonality repetitions of each pair through prima, then after a second, etc. over the entire range, first up to the limit note and then down also to the lower end of the working range. After the sound of the limit upper and lower notes of the range is equal to the sound of the middle of the range, the notes adjacent to the extreme notes of the range, one or more at the same time, or separately from above or below, are included in the operation.

Continue training work with an extended range until the sound of the notes entered into the work reaches the sound of free, light and aesthetic, similar to the sound of the middle of the range or close to it.

The peculiarity of expanding the range down with the formation of the third register is that after including notes below the extremely low working note during training, some sound on new notes, even unclean, may be absent.

This absence can be misleading for both the teacher and the learner, who can easily doubt the existence of a third register. But if the training, despite the lack of sound, is continued, then after a while a sound will appear on new notes, naturally unclean, not flying. The muscular sensations accompanying the appearance of sound will have a tinge of some artificiality with the need for some effort. The student during this period must persistently and tirelessly seek the optimal coordination of the muscles of the voice-forming apparatus, providing a clear sound of additional notes of the range. When it is trained or if it accidentally “falls into” its mode, this coordination will be immediately heard and felt by himself, the teacher and any casual listener. It is characterized for all by the ease of sounding, freedom of voice in this coordination, flight ability, strength and aesthetics of the sound of the voice. At the same time, the sound of the working notes of the range will also improve if, when switching sound from additional notes to workers, this coordination is preserved on working notes. These already good-sounding working notes will become even more aesthetic, lighter and stronger. Manual installation and fixation of the larynx in the most optimal position according to the sound of the timbre is advisable to apply only in the area of new notes in the range of the upper and / or lower ends of the range of the singing voice. Other methods of expanding the range, accelerating and facilitating this part of the work, will be described in the following examples of the singing voice.

The second group of students ranking includes students with a primary interval not exceeding quintes-sextes-septims, and their repertoire work is associated with a significant limitation of a suitable repertoire. Therefore, the main type of work of the first stage with the second group is the work on expanding the range to an octave and a half with occasional checks of the possibility of including folk songs in the repertoire, recitative with tessitura, which fit into the existing range of working notes in order to replace the exercises with phrases, verses that sound most successful from these songs, romances, arias.

With the identification of such songs, it is advisable to expand the range on phrases, fragments, or verses of such songs with the inclusion of dramatic and playful elements in order to overcome stage stiffness and develop plasticity in the student’s performance style.

With a steady slowdown in the expansion of the range, it is advisable to control the type of voice with manual movement and fixation of the larynx over the entire amplitude of its natural physiological movement with the sound of the voice controlled at three to five points of the mentioned amplitude.

Finger manipulation is more operative, but less accurate in determining the position of the larynx, however, ease of implementation determines its choice in most cases. Moving and fixing the larynx down in the finger manual is performed by putting, for example, the index finger on the upper edge of the ledge of the Adam's apple 5 (Adam's apple - Fig. 5), and shifting the finger and Adam's apple down to the limit they sing an exercise, phrase or part of them and carefully listen to the sound vote. The listening is repeated, sequentially shifting 1.5-2 mm upwards over the entire amplitude of natural movement and fixing the larynx in each of these positions, and determining the sound closest to the delivered voice, note or remember this position and type of voice. Recording these sounds on a tape allows you to more thoroughly compare and more accurately determine the position and type of voice. It will be more convenient to perform manual manipulation with the beginning of listening in the highest position of the natural movement of the larynx and subsequent downward displacement of the Adam's apple.

Moving the Adam's apple up and fixing the larynx in each of the arbitrarily taken positions is possible with one, for example, the index finger in contact with the lower edge 6 of the Adam's apple, as shown by dashed lines in Fig. 5, but it is more convenient to move up with two fingers with the thumb and forefinger in contact with the lower side edges of the Adam's apple (Fig.6).

The third group will consist of students who do not have a primary tone, but who have clearly expressed plastic ability (characteristic operetta and opera actors) or who have shown pronounced pronounciation inclinations at the qualifying stage in combination with masterful control of speech voice. The main work of the first stage (semester) with representatives of this group will be the work on expanding the plastic repertoire and staging a singing voice with a cantilena, which will begin with the described manual definition of the type of voice with control over the output from this voice voice control. If the boundaries (edges) of the speech range do not match the type of voice established in the manual control, the manual control is repeated as many times as necessary to obtain the correspondence of the type of voice with the edges of the speech voice or until a primary tone (interval) appears through a series of vocal trainings of the learner’s speech voice.

After increasing the range of working notes for a student of the second group, the emphasis on working with him as a vocalist-teacher gradually shifts to the rehearsal part with polishing the cantilena according to plans and operating modes similar to working with the first group. But with all the variety of plans and schedules for working with ranked groups, any repertoire exercise, the product is mastered only on cantilena, phonation breathing, with rounding of sound in the throat and natural articulation of consonants in the oral cavity.

To produce a singing voice in the absence of a primary tone (interval), two or three exercises are performed with singing exercises with sequential movement of the tonality of the next repetition of the exercise, for example, through a third, a quart or a fifth through the entire range of the speech timbre to determine its upper and lower boundaries. After such a warm-up of the voice apparatus, the learner is offered to perform his favorite song, in which his voice most successfully sounds, in his opinion. With this performance, a preliminary conclusion is made about the type of voice and this control is repeated with a manual manual installation of the larynx with its sequential displacement over the entire range of natural movement. They note the position of the larynx with the closest sounding of the voice to the professional sound of the delivered voice, draw a second conclusion about the type of singing voice and compare the conclusions with each other. If the control conclusions coincide, further work on the formulation of the voice is performed with a repertoire corresponding to a particular type of voice, constantly noting the influence of such a repertoire on the course of voice production. The manual control of the type of voice is periodically repeated according to the course of the performance to improve the sound - timbre, strength, flight, rounding with resonance, sound support and the formation of phonon breathing. With a slow improvement of the listed signs or of some of them, the type of voice control is repeated more often, but in any case, it is recommended that the student with each improvement remember the muscular sensations of the improved sound with subsequent attempts to repeat this sound with the natural setting of the larynx to the position of such sound without manualization. Moreover, it is advisable to do each vocal training during the expansion of the range of voice by putting the third register into operation with repetitions of exercises on each key and the first performance in each of them to perform manual fixation of the larynx in the lower, for example, position, and in the second - from the first repetition keep the improved sound without manualization. At the first training sessions on voice production, exercises, phrases, couplets of musical works are performed with the transitions of repeats to the next key through prima, second and third, followed by adjusting the displacement step to an octave or more within the range of the speech voice, while combining the performance with practicing cantilena, phonation breath, with the sequence of ensuring clear sounding of each new note in the speech range. Also, rounding of sound in the throat is steadily and consistently practiced with moving the rounded sound into the oral cavity and natural articulation of consonants in it, categorically eliminating masking and grimacing from practice to round the sound (the notorious “boat”, for example). The completion of the production work should be considered the formation of chest resonance with the development of the skill of sound milling and the use of the following techniques for staging.

The main difference between phonation (speech or singing) from calm everyday, speech of calm and emotional breathing is its phonation pause, performed after a short inhalation with fixation of the muscles participating in the breathing in the inspiratory position. The difference can also be attributed to the work of the voice-forming apparatus with the cessation of exhalation, ideally to a complete stop, which facilitates and stabilizes breast resonance. A multiple increase in the duration of a phonation pause with an air-filled respiratory system not only distinguishes this breathing from calm everyday breathing with a short stop of breathing or from calm and emotional speech with phonation of the voice-forming apparatus when exhaling air residues from the respiratory unsecured breathing system, dramatically and fundamentally change the operating mode and performance of the apparatus .

Obviously, for the development of phonation of singing or speech breathing, no techniques are required: the necessary stops of exhalation and fixation of the volume of the cavities of the respiratory system are physiological and already exist in the respiratory process, it is enough to lengthen them. It is also natural that with minimal energy and time costs, a skill is developed to perform an energetic and short breath, corresponding in volume to the phonation time of the next phrase and short exhalation. Consequently, all the components of phonon respiration - inhalation, shortened household exhalation (similar to non-phonon household exhalation) and phonation pause with practically stopped exhalation are excluded from phonation, which is fully consistent with Uusson's neuro-synchronic theory of phonation. The simplicity of mastering phonon breathing and the related facilitation of attention coverage of the remaining numerous components of the sound generation process are also obvious.

But it is undeniably more important to transfer phonation and perform it after inhalation, and to combine it with fixing the volume of the respiratory cavities before exhalation begins, which eliminates oxygen starvation practically with independence of phonation and the duration of the exhalation stop. And when teaching and staging a singing voice before the beginning of speech, singing or phonation, one should breathe in an air volume sufficient to fulfill the first phrase, part of it or a block of phrases, correspondingly included in the character’s work or tasks that the singers have, for example, assigned to him by the teacher or by himself for practicing any vocal technique, for example. At the same time, the attention of the singer is fixed simultaneously on the fulfillment of this task and the preparation of the tasks following the physiology of singing, academic, in particular with separate rounding of the vowels of the sound in the throat, for which it is advisable to take a breath with the root of the tongue and hyoid bent backward and downward. If you train this coordination of the voice-forming apparatus, then in the oral cavity the consonants of this rounded sound can be articulated in a natural way, as in speech, without grimaces, “boats”, with clear and laid-back diction and with the possibility of free expression of emotions by the facial muscles to play embedded in the performed musical composition of mood, philosophical and / or poetic content. The skill of the mentioned displacement of the tongue to make way for the lowering larynx can be worked out by known methods, for example, a “yawn”. To do this, preliminarily simulating a yawn and remembering the coordination of the yawn according to muscle sensations, having trained it to automatism, each breath is performed in this coordination yawn. From the author’s experience, there shouldn’t be any difficulties in working out such a breath: after all, yawning, light and automatic, is quite often and sometimes inappropriately and completely involuntarily.

If you delay the development of automatism of inspiration on the yawn of some students, you can also apply the technique of expanding the oral cavity, known in the vocal technique, using the "hot potato", mentally placed in it. Having well remembered the muscular sensations necessary to exclude burning of the muscles of the mouth, it is useful to repeat them in each phonation process, and especially in combination with a gradual and gradual mental displacement of them in a series of training sessions in the sections of the superficial and sublingual tubes - the upper, middle and lower - with a sequential approximation training to the end of them and even mentally - to the diaphragm. In this case, the expansion of the entire respiratory system is guaranteed. Especially relevant and absolutely necessary is the described combination of inspiration with the coordination of sound rounding when performing recitative works.

The relevance of separating sound rounding from articulation is especially clear and important for amateur choirs, the open sound of the choristers of which is the main scourge, absorbing the lion's share of the energy and time spent on its eradication by known and traditionally used means. And the "boats" used by the overwhelming majority of choirmaster because of the transformation of one sound into another (a, e, o, y, etc.) are illusory, since it creates a deceptive impression of a quick, but temporary elimination of sound openness and is inevitable -constant return of it and stable repetition of everything all over again. This hoax continues for many years and, with a change in the composition of the choir, resumes with unshakable constancy. Mastering the separation is possible in 3-4 months with systematic work, even only on a yawn. However, choirmasters, as a rule, at the suggestion of phoniatric scientists, fetish the notorious boats and the transformation of sounds, not suspecting that 70 years ago Verbov found a solution to this long-standing problem, which is very tiring for choristers and choirmasters, accompanists and conductors. In these decisions, only the classical cantilena is analyzed, the main characteristic characterizing it is the singer’s singing voice. And an alternative to it is a recitation cantilena with playing predominantly musical performance by a professionally unprocessed speech voice. Even the most prominent performers of her did not consider themselves singers. It is enough to recall the statements of K.I.Shulzhenko and M. Bernes, who left an unforgettable mark in pop art. No wonder and respectful respect for the talented recitation, as well as for classical singing.

Surprising and alarming is the demand for a pathological and caricature phenomenon in the cultural international sphere, cherished by television people who do not know the vocals - a pop show. It turns out that not only the recitation of the dramatic artists who exploit their artistic name in it is claimed by the consumer: they have no reason to attract the attention of the listener - neither hearing, nor voice, and often are frequented by television regulars announced by "pop stars", with great desire and perseverance with with the help of TV people they impose their jumps and stripes on the viewer, without bothering themselves with the search and staging of the voice. The problem of the formation of the classical cantilena is exacerbated by the complexity of the traditional method of voice production, coupled with its great negative impact on the quality of the timbre received by the voice as a result of its application.

Even significantly simplified manual methods of voice production, providing a very high quality, also require the distribution of attention of the singing at the same time to several factors affecting the parameters of the singing voice. From the very first moment of phonation, in addition to the described division of attention into the rounding of vowels of the sound in the throat with the articulation of consonants in the oral cavity, it is necessary to control and provide simultaneously with the cantilevered respiratory support, sound support, resonance, flight. Obviously, the simultaneous implementation of only the abovementioned technological parameters of phonation is not very simple and, moreover, is only the basis for the performance of the main stage tasks of each singer - the reproduction of the moods, emotions and dramatic states of the character of the performed musical work. Unconditionally, the multi-layered tasks stipulate the resolution of the contradiction between the principle of the gradual nature of any learning and the need to simultaneously solve technological and artistic problems by simplifying technological ones to the level of their automatic fulfillment already at the stage of voice production, i.e. requires a new methodology for setting up training. In the claimed manual technique, the described phonon breathing simplifies the development of breathing support so much that it provides the development of the support skill in the process of the repertoire of training without allocating special time due to its closest approach to automatic development. Also on the repertoire part of the training, the development of the skill of maintaining equal air pressure in the sublingual tube during phonation to the resistance to closure of the ligaments was practically transferred without distraction.

The formation of resonance is significantly facilitated and accelerated by primary chest resonance and automatic and balanced connection of the head resonance with the formation of a single sound generation system with the possibility of including the entire musculoskeletal system or its individual parts, which significantly improves the aesthetic and facilitates the singer’s operational capabilities. And an alternative version of resonance production with the primary inclusion of head resonance in the phonation, propagated by the traditional method and traditionally used in teaching practice, is fraught with the creation of a mode of operation with a two-stage increase in the load on the voice-forming apparatus, which even without taking into account the impoverished tone of the formed voice by the overtones of the low singing formant itself alone is highly undesirable due to the reduction in the reliability and service life of the mechanism of voice formation. The main trouble from masking rooted in the singing practice is the two-level introduction of phonation in the phonation at the same time. This is due to the fact that the muscular sensations of the head resonance - vibrations in the “mask” zone can occur as a result of the echoing of the head cavities - frontal sinuses and maxillary cavities. And since these cavities are closed, uncontrollable, and separated from the supra-ligamentous cavity with the sound output, their resonance can be obtained only by significantly amplifying the sound, i.e. they need to be screamed in the same way as you have to amplify your voice when talking through a closed door or through a wall. This explains the reason for the first stage of the ora in the traditional version. Due to the fact that these cavities of small constant volume are located in the bone mass, the frequencies of the high singing formant prevail in the spectrum of their resonant frequencies, and the timbre of such a voice is not very attractive due to the absence of chest resonance overtones that add aesthetics to the voice - depth, warmth and “meatiness” . In this case, too, it is possible to scream to the part of the chest resonance, but due to the additional amplification of the sound with an increase in the load on the voice-forming mechanism. But even with this secondary amplification of sound, only part of the chest resonance will begin to sound off - the elements of the breathing tube as a result of which the attractiveness of the timbre does not fully improve.

In traditional masking, each student is forced to strain the vocal apparatus with ligaments and the respiratory system by increasing the "decibel" of the voice in order to first "scream" into the frontal sinuses and maxillary cavity to introduce them into resonance and form a high vocal formant. And this first-level OR has clearly inadequate “commodity properties”, since the mentioned head cavities are small in volume and are formed by rigid bone walls, as a result of which their resonant vibrations will have small aesthetic properties that do not attract the listener — the total head sound (curve 17 in FIG. .7d) it is perceived by ear with a cold and empty timbre, but voiced with good flight with a conventional frequency range. It is too mechanical, does not warm and does not reach the souls of listeners and is perceived by all known oru. The overtones of warmth, sincerity ("fleshiness") of the voice can be obtained only in chest resonance with a large number of resonant cavities in the chest and respiratory system, shown conditionally in Fig. 7a in the frequency range L. These chest cavities have larger volumes than the head ones, they are communicated with the oral cavity, they can change the volume, are easily controllable, and therefore it is easier to give them the required emotional color. But in the case of traditional masking with the primary inclusion in the resonance of the head cavities for subsequent inclusion in the resonance of the chest cavities, the singer is forced to add a decibel in his voice to the first-level mouth in order to attach “flesh” to the “empty” head timbre. But even after bringing singing to the second level, the aesthetics of the timbre will improve slightly, because only part of the thoracic and respiratory cavities from the frequency range of natural oscillations will sound off to the second level of the ora. Accordingly, with a significant increase in ora and the associated load on the ligaments and the vocal apparatus, esthetics improves noticeably weaker and as a result of harm to singers, this traditional manner of singing creates more than the beneficial effect of singing on the audience.

The advantages of the primary inclusion of thoracic resonance in phonation follow from the properties of this sector of sound generation: the cavities of the subglottic section of the respiratory system are more numerous, have a larger volume and are interconnected and have a sound output in the superligamentous section. It is obvious that breast resonance is potentially richer in overtones, which, if they are fully controllable, makes this version of voice production absolutely promising and easy. In addition, the presence of a secondary musculoskeletal volume of the chest with the possibility of resonating at least one or more of its elements into phonation, which does not require boosting the sound, further improves the prospects and attractiveness of the primary inclusion of chest resonance, making it the main one.

On figa shows graphs of the conditional resonant frequencies of the components of the respiratory system (ligaments, larynx, trachea, etc.) with the interpretation of curves 7-17 in table 2. The interval L of these frequencies F ... n exceeds the interval 1 of the frequency f ... n of the head resonance on fig.7d (L> 1, n> n), and since the head cavities are significantly smaller in volume of the respiratory cavities of the chest, they are located above the sound source and the main resonator and communicated with them by the musculoskeletal system additionally with acoustic interaction, then evacuate there will be breast resonance other ha Monica natural oscillation of these cavities are not the ones that otzvuchivayut on op, and more harmonious with it. Thus, without the expenditure of time and effort on the development of an ora in full agreement with breast resonance, an optimal mode of operation of the voice-forming apparatus will be formed in terms of the intensity of the loads on its muscles and with maximum aesthetic and operational capabilities. Especially noticeable will be the improvement in timbre as a result of the inclusion in the phonation of the second stage of chest resonance - muscle mass of the lungs, rib-muscle skeleton of the chest, back walls, abdominal press and diaphragm in the aggregate, part of it or individual elements, for example, lung mass. Each lung 18 has the same resonant frequency with the same amplitude L, and in the area between them, the bronchi 19 and the diaphragm 21, these vibrations add up, as a result of which the muscular sensations increase to a value of 1.5–21L, and the singing voice feels this as the appearance of a vibrating “pillar” 20 vertically located in the sternum region (Fig. 9), despite the fact that this part of the chest is filled with internal organs and has no cavities. The diagram in Fig. 7 contains the conditional resonant frequencies listed in Table 2 involved in the singing phonation of the respiratory system and the vocal apparatus.

table 2 List of conditional resonant frequencies of a singing voice 7. The constant frequency of oscillation of the ligaments 23 during phonation (Fig.7, 9, 10) Resonance frequencies of chest resonance 7. The ligamentous tube (pharynx, mouth, nasopharynx) 9. Ligamentous tube (larynx, trachea) 10. Bronchi 19, stem alveoli of the right and left lungs 11. Respiratory cavities of the right and left lungs 12. The total frequency of the right and left lungs 13. Total breast frequency Resonance frequencies of head resonance 14. Right and left frontal sinuses 15. Right and left maxillary cavities 16. The total frequency of maxillary cavities 17. The final frequency of the head resonance

The most effective method of inclusion in singing phonation is singing in coordination of “ventriloquism”. To implement it, each student mentally creates in the voice-forming apparatus the coordination necessary in his opinion for ventriloquism. Having started phonation in it, he tries to preserve it and transfer the level of chest resonance that appears in the sound of the voice to the rest of the notes of each musical phrase. At the same time, he tries to remember the muscle sensations that arose when this coordination appeared and the sound of the voice changed for the subsequent training of the automatism of the skill of their application. There are options for the effectiveness of ventriloquism reception, depending on the preliminary level of vocal readiness, as the statistics of its use will show.

Presumably, there may be a period of small effect from its application with a gradual increase in skill and training experience. In the practice of the author of manmethodics, the very first exercise using ventriloquism gave an unconditional effect - the chest immediately responded with a resonant chest sound.

It can also be assumed that the effect of ventriloquism can be increased by combining or combining it with techniques and / or factors that increase or accelerate chest resonance.

In the author’s practice, the facilitating technique was the “breathing spread” technique, which differs from the common sign of “breathing support” not only in terminology.

The term "support" fully describes the situation of support of a solid object on a stationary solid, supposedly flat surface. In this case, the situation is described by this term exhaustively and unambiguously. But in a situation where a certain volume and pressure of gas is located in a closed volume, reliance on a stationary bearing surface does not provide an unambiguous interpretation and an exhaustive description. Indeed, even when the diaphragm is fixed, both pressure and volume will change - air will come out through the vibrating ligaments and the pressure will drop with a change in the timbre of the resonating sound due to a change in the volume of the respiratory cavities and pressure.

Consequently, only with the spread of breathing is the air maintained in the respiratory system stable chest resonance, and the term support does not provide the unambiguity of the content and designation and thereby misleads the students, teachers and researchers.

To form a skill for breathing, the author had to mentally, before phoning, lock his breath in the respiratory system after inhalation and hold the feeling of fullness until the end of the sound of each next phrase.

From the theory of acoustics it is known that sound streams can be controlled, amplify or weaken each other.

The specificity of phonon fluxes is predetermined by the mutual arrangement of the resonators of the voice-forming apparatus, the sound source and the sound-guiding mouthpiece - mouth. Unlike musical instruments with a one-sided arrangement of their resonators relative to the sound source, the chest cavities and the ligamentous tube are located under the ligaments, and the head ones above the ligamentous tube - above this sound source, as well as the oral cavity. And from this it follows that the coaxial sound stream "c" (Fig. 9) of the head resonance and the stream "d" of the chest resonance move towards the oral cavity and this anatomical and physiological disposition is most prone to mutual attenuation and even to repayment in the worst case. And this means that phonation, especially singing, should have techniques that ensure minimal loss of sound energy when moving flows to the oral cavity, when adding high and low singing formants and moving them together along the oral cavity. And the oral cavity perpendicular to this movement of sound streams additionally complicates the energy of phonation, due to the fact that acoustic streams can only smoothly bend around obstacles, obstacles in the way of their movement and cannot be displaced at right angles.

The author of the methodology managed to solve the described problem by receiving a clamp of flows to the back wall of the subglottic and superligament tubes, respectively. To do this, the singer must mentally press both the thoracic and head resonant flows to the posterior wall of the subligament and suprajunctival tubes, mentally imagining them moving along their posterior half-cylinder with a semi-cylindrical or flat cross section. With the described “flattening” of sound streams and the displacement of flat streams into the posterior hemisphere, it becomes possible to smoothly rotate the streams into the oral cavity and create their equilibrium interaction with parallel movement in the oral cavity. And this is the only solution to this problem, because cylindrical flows in coaxial tubes can only abut against each other at the oral cavity, mutually weakening each other. The described optimal movement of sound streams pressed to the back half cylinder of the tubes is rather schematic and simplified, but in reality the movement of sound formants to the oral cavity is complicated by the presence of the musculoskeletal component of these streams. These components arise from the transmission of resonance vibrations along the cervical spine and neck muscles and these components also affect the flow of formants in the oral cavity. The addition of the acoustic and musculoskeletal components of the sound streams creates muscular sensations in the singing unidirectional movement of the sound stream along the ligament and supra-ligamentous tubes to the soft palate with a 180 ° rotation of the sky against the sky, and a reverse movement of the flow to the oral cavity by 90 ° rotation and further movement until exiting the mouth (Fig. 10, flow "e").

These subjective muscular sensations also contributed to the creation of one of the main Susanisms - the recommendations of the traditional method of voice production: directing sound into a mask (masking), which does nothing but harmless harm to students or those who use it in professional activities.

In the description section of the previous level of the staging technique, it was noted that significantly improves and accelerates the development of the skill of including in the resonance of the chest cavities the reception of the “prohibition” of the direction of sound into the mask, and even better, the movement of the low singing formant above the ligaments. It is enough for the person singing to mentally close (stop) the sound stream in the chest cavity, as he will immediately hear the improvement in sound and feel the vibration in the chest cavity. After that, he can remember these improved sounding and muscle sensations and train the automatism of this phonation mode. Equally, the described method of pressing sound streams to the back wall of the tubes improves the flight of the singing sound. It is ensured by the appearance of the space freed up in the tubes on the front side of their half-cylinder and the consequent possibility of smooth movement of the sound streams of low and high singing formants from the tubes into the oral cavity perpendicular to them without distortion and energy costs. Obviously, masking with oncoming movements of high and low singing formants recommended by the traditional technique can at best impoverish the timbre of the singing voice, and the accompanying op and partial secondary chest resonance of an empty and cold singing voice with an excessively forced operation of the voice-forming apparatus with problematic flight can only by Susanism.

In the methodological literature on vocals, in particular, in Dmitriev’s two-volume, a separate chapter is devoted to muscle sensations on page 262, which implies the significant importance of this means of analysis and the indirect effect on a very difficult phonation process. However, it contains only a general summary of known muscular sensations and a conclusion about their advantages for vocalists and their greater reliability in controlling the sound of the voice, associated with the independence of the perception of singing by singers of the “muscular” type from the acoustic environment and the acoustic properties of the singing room, as opposed to “auditory” To singers. The auditory and muscular types of singers include those singers who control the sound of their voice mainly by auditory or muscular sensations, respectively. Visual sensations can be applied by both types. In addition, vocal specialists subdivide muscle sensations into respiratory sensations, mainly associated with perceptions of the respiratory muscles, for example, their movements; resonant sensations occur in muscles that resonate or surround the resonant cavity of the respiratory system, i.e. it is a sensation of vibrations of the muscle itself or its neighbors. Kinesthetic ideas about any movement, i.e. the involuntary, barely noticeable fulfillment of the movement that a person only thought about, but did not intend to carry it out, and even on the contrary, has the intention to conceal this idea from the interlocutor.

The technique does not lead to any specific muscular recommendations and rules for the singing process or voice production. Such declarativeness, with its complete objectivity without concrete recommendations, only aggravates the impression of helplessness and hopelessness of anyone interested in the technique, condemning him to the use of random recommendations, sometimes from random people or, at best, pushing him into the bosom of a traditional technique with its scream, grimacing and great risk causing quite noticeable damage to health, accompanied by a deterioration in the quality of the voice timbre. In addition to the traditional desire of scientists to complicate the proposed theories to academicism, which requires the understanding and implementation of the theory of specialists described in this way at the level of academic authors, there are two possible factors in the phonation technique that objectively explain this situation: the physiological complexity of phonation, especially singing and the inconsistency of perception and interpretation of muscle sensations by singers and listeners. The complexity of phonation is well explained by comparing it with the process of sound production on any musical instrument. These processes have exactly the opposite possibilities of familiarization, viewing and studying: how clearly the keys, for example, the piano and other components of its structure are known, the tuning technology is well known and stable with each of the many possible settings, it is so unclear for the singer, at least at the beginning of training , the structure of the voice apparatus, control technology, and even more so - voice production. Here one can add a very close relationship with the organs of vital activity and the health of the body - its health and the aesthetic and emotional capabilities of the singer. These difficulties are exacerbated by a second factor - the conflicting perception of auditory sensations by both the singer and the listeners. Moreover, the centuries-old history of the development of vocals and the methodology of voice production confirms the inconsistency of auditory perception, including by vocal teachers. In addition, it is complicated by their conviction and professional commitment of the teacher to the rules of the traditional methodology. And in this case, the presence of a teacher’s vocal hearing reduces the singer’s chances of avoiding the negative consequences of yelling and other known “charms” of her. Even if any teacher has doubts about the objectivity of the recommendations and rules of the traditional methodology, it is very difficult and difficult for him to make a decision that does not coincide with generally accepted standards that have been in force for many hundreds of years, moreover, recommended by the masters of the Italian school. This general reverence and fetish of traditional rules has done much harm to the trainees. The factor of inconsistency of perception is more clearly characterized by the recommendation of types of breathing with the main characteristic of their many varieties from the type of inspiration, which in fact does not affect speech and singing phonation at all. The extreme importance of breathing for the health and performance of the singer’s body mistakenly extends to phonation. On the contrary, the stopping of expiration is extremely important for phonation, but only indirectly - through stabilization of the resonance frequencies of the body elements involved in singing sound formation, both the volume of the respiratory cavities and the air pressure in them change during inspiration and expiration. Therefore, the sound of such a variable system cannot be stable, which requires a pause in the exhale. And this is favorable for singing phonation, because there is a pause even in everyday calm breathing, and the difficulty in setting the voice is connected precisely with the organization of the regime of stable resonance of the chest respiratory cavities. But at the same time, it is necessary to resolve the contradiction between the preservation of air inhaled into the lungs and to release the produced sound of ligaments from the respiratory system, at least - speech, and better - singing, resonant. From which it follows that singing training and voice production consists in developing the ability to “breathe” breathing in the respiratory system while simultaneously moving the sound along the ligamentous tube into and out of the mouth in any phonation. And in the singing, you need to add to this the skill of ensuring the resonance of the sound of the ligaments of the chest and head with the movement of this resonated sound then through the supra-ligamentous tube and along the head cavities, the musculoskeletal mass of the neck and head into the oral cavity and from it to the hall. It is good for including “ventriloquism” in the resonance of the breast and the indirect method of masking prohibition, by which the singer mentally blocks the sound from passing into the mask. Moreover, it was noted that the reception efficiency is improved when the obstruction of the passage of sound into the mask is kinesthetic, for which the mental prohibition of masking is supplemented by a slight physical strengthening of this barrier - something in between the physical effort and the categoricality of the mental prohibition of masking. It should be remembered that with any technique and any effectiveness, its main factor ensuring a successful result is regular and not twenty-minute workouts, but hour-two-hour ones with breaks for rest. Even though the necessary processing of the sound of the ligaments to inform him of the informational and emotional content is not limited to the listed difficulties.

The complexity is increased not only by the lack of knowledge of the anatomy of the voice-forming apparatus. In addition to the auditory and muscular sensations, there are no other control tools for the level of voice production and, therefore, the beginner to master vocals or voice production before the appearance of his own vocal hearing completely depends on the vocal hearing of the teacher and his recommendations. A singing lover who sets his own voice independently has at his disposal only the usual “physical” hearing with all distortions in the perception of his voice. Help in voice-over can only be listening to the voices of recognized masters of vocals and, in no case, pop music, but opera masters. And of course - not poppy disgrace. For such educational listening, voices in the recording are more suitable and preferably on the audiotape, which will avoid the detrimental effect of the "snapdragon" and the grimacing of the victims of the traditional methodology. Practically possible for some consultations with vocal teachers at the initial stage, it is dangerous because after such consultations there are great chances to be among the victims of the traditional methodology and to waste time, reaching at least half the goal. The mentioned complexity of the process of phonation and staging of a singing voice determines the need for mastering phonation of sets of techniques for developing and consolidating singing skills with a combination of training and a set of methods for controlling the sound of a voice according to auditory and muscular sensations. And most of these aggregates contradict each other. As already mentioned combination of preservation of inhaled air - breathing - to stabilize the chest resonance and maximize the expansion of the supraventricular tube with the oral cavity to output sound from the voice-forming apparatus. These aggregates are controlled by the feeling of preserving the pressure of the air inhaled into the lungs, not only on their alveoli and capillaries, but also on the inner walls of the chest and press, on the diaphragm while maintaining this pressure on the entire musical phrase with simultaneous control of the sound quality by hearing. A more accurate reflection of the actual interaction of air with anatomical elements will be the term “pressure” rather than pressure, it seems. But more importantly, in this case, the air in the respiratory system is compressed and contributes to a more efficient transmission of sound vibrations of the ligaments through the air and through muscle mass to the walls of the chest. It helps to improve the first level of chest resonance, not only the direction of sound into the mask, but, on the contrary, a mental ban or mental blockage of sound access to the mask or even make some attempt to “squeeze” the sound out of the chest, also mental. Muscle sensations and techniques of "tuning" rounding sound to restore in memory and difficult to describe because of the limitation of this stage of my work in setting my own voice. But I can state that after I got acquainted with Verbov’s “Technique for setting a singing voice” in 2002-2003, his recommendations on rounding the sound of vowels in the throat with the lowered root of the tongue and hyoid bone completely coincided with the results of sounding my voice and muscle sensations. And the naturalness of articulation of consonants in the oral cavity of this already rounded sound is clearly visible to all listeners during my solo and choral performances, and the complete absence of grimaces and snapdragons is pleasant not only to me. In combination with the instrumental stability of the timbre and the absence of an ora, the freedom of the facial muscles creates a good base for expressing emotions in any vocal performance. And I must note that such an opportunity to independently master the singing phonation is not unique after the publication of the claimed manual voice production technology. And the advantages of its use can be doubted by M.N.Maksakova, who doubts a rare television recording: already in the 19th century, practitioners knew that singing phonation without hoots, grimacing and snapdragons is possible, but to this day teachers cling to the harmful rules that give rise to them and traumatic young singers.

In addition to the described feeling of a “column” of vibrations under the sternum and press, one can add that one should pay attention to the method of “tuning” the voice or even the principle of averaging the sound of the voice, presumably preferable in the absence of a primary tone in the voice. According to this principle, the student of singing for voice storing remembers the muscular sensations during phonation in one register of the range and seeks to preserve them during the transition of a melody played in another register. That is, starting singing from the lower note of the lower register, the sensations retained while retaining the notes in the middle of the range and especially on the notes of the upper register, including the topmost note and vice versa. This conservation is controlled by auditory or visual sensations.

Identified by the author of the feature of increasing the range in the third register is a two-way increase in the range. Even if vocal training is limited to the working range with the third register added to it or part of it at the lower end of the range. After the added section or the entire proposed third register is included in regular training, a series of “noise” exercises takes place, in which there is no sound in this new section of the range, but if it is not excluded from training, then over time the sound appears unclean and unstable, which after the next series of workouts, it gradually stabilizes, becomes cleaner and then joins the working range, entering the mode of chest resonance. This formation can occur in parts or immediately of the entire register. But regardless of this order, simultaneously with the inclusion of a section or register in the resonance mode, the timbre of the working range improves with the addition of a half tone or tone at the top of the range. In addition, the effect of preserving the sound of the newly entered the range of working notes of the coordination of the vocal apparatus in the phonation of the lower note of the lower register becomes more noticeable when the melody switches to the upper register notes. When resonating the third register or its part, the muscular sensations that give the impression of the location of the sound on the upper side of the vibrating ligaments also become clearer, and the impression of an improvement in the contrast of this impression with the mental lowering of the place of sound formation along the vibrational “column” with the approach to the diaphragm is created. The importance of this muscular sensation is confirmed by the auditory sensations of a covered voice, the ease of stable sound production, the power of a voice rich in overtones with its maximum flight. And perfect cleanliness at the same time!

The described favorable reaction of the voice-forming apparatus to the inclusion in the phonation of the third register, in addition to confirming its operability and its location in the lower register, allows us to conclude that the second level of thoracic resonance is not only of the third register, but of the whole apparatus as a whole.

Example 3

The development of phonon breathing, the rounding of vowels in the throat with the lowering of the root of the tongue and hyoid bone, the articulation of consonants in the oral cavity, the inclusion in the phonation of chest resonance with balanced sounding of the head cavities is performed as described in example 1.

Even the episodic use of factors contributing to voice production accelerates the formation of singing phonation. In the author’s practice, the main factors turned out to be solo performances in combination with physical activity. Their effectiveness is easily explained. In particular, in solo performances, the nervous shake of the body before going on stage and the emotional impact when performing on stage do not require extensive justification: it is enough to recall that the effect of any solo performance is completely consistent and provided by the neuro-chronactic theory of Uusson's phonation.

The effect of physical activity is also completely based on the principle of athleticism and is directly related to the energy of vibrations of the ligaments and the degree of their transfer to the resonating cavities and from them to the air of the room. In practice, the author was able to strengthen the effect by combining the loads of walking up the eleventh floor by stairs and subsequent gymnastic exercises after two to three hours of rest. The vocal effect of such combined loads was observed within 1.5-2 months every other day on days free of physical activity. The duration of vocal training lasted from 40 minutes to 1.5 hours. Additionally, the implementation of the principle of athleticism consisted of morning vocal training performed in bed and naturally lying. Such trainings are distinguished by the facilitation of the inclusion of chest resonance and the almost perfect purity of the bass tone, so beautiful that so far, neither in the evening training at the piano nor in the concerts in the standing position, such an almost octave timbre has not been heard. I suppose that the staging work will be completed when it is possible to repeat the timbre of the voice that I heard in bed on stage or behind the phon.

A practical test of the effectiveness of walking shows its feasibility for those working on the production of older voices. But regardless of age, this factor should be applied, constantly bringing the pace of walking closer to sports. The influence of this factor on the vocal apparatus is similar to other types of physical activity. Thus, the improvement in sound after two transitions to a distance of 10 km by 5 km in the morning and in the evening was also approximately twice as noticeable in auditory sensations as after an exercise of 5 km per day for an hour.

Workouts with physical activity are well complemented by Nikulin's vibrational gymnastics and Maxinio's high-frequency gymnastics, which improve the blood supply to the limbs and the removal of the body’s vital products from them with minimal time and energy for gymnastics.

Vibratory gymnastics consists of alternating lifts on the toes of the feet and a sharp shock lowering the body to the heels. The heel strokes that imitate walking and running make it easier to raise the blood flow through the valvular system of veins.

Maxinio's high-frequency gymnastics is performed alternately with the hands and feet. Gymnastics brushes are more convenient to perform while sitting and lying down, for feet it is more convenient to lie. Arranging the hands horizontally, with the maximum available frequency they shake the hands in the opposite direction immediately with both back and forth, trying to achieve the imposition of their vibrations on each other or, at least, the direction of movement. The cycle of exercises with brushes is performed 40-60 seconds to fatigue with control by respiration or pulse. The gymnastics cycle of the feet is performed after rest, similarly moving the feet up and down in the supine position, also achieving high-frequency oscillations of the feet. Rest between cycles can be constant for 3-5 minutes. The number of cycles in a workout and the number of workouts in a day can be arbitrary at will in accordance with the tasks.

The specificity of the use of alcohol for the purpose of staging a singing voice is determined by its effect on the voice, similar to the effect on the body: positive - in small strictly dosed doses and destroying the voice - large and regularly acting doses.

Consequently, only one way of using alcohol is acceptable for voice casting - episodic, for example, on major holidays, family and personal anniversaries and celebrations. To this, you can add a reception of 150-180 grams a day before the concert at least. In this way, a possible violation of coordination will stop, and the timbre, strength and flight of the voice will improve.

The effect of intima on the vocal apparatus is associated with physical and physiological processes in the body as a whole, in combination with an improvement in the emotional state of the nervous system of any person. The norms for using it for voice-setting purposes and in another well-known purpose are strictly individual and determined experimentally.

Example 4

The voice-over method mentioned in the description while listening to a singer’s music library with a delivered voice is not at least readily available for amateur singers. Therefore, scheduled listening is only possible occasionally and mainly on television, radio or in recordings. But for this, it is necessary for everyone who is interested in vocals from the programs of these programs to select concerts with numbers of recognized masters of vocals, the timbre of which, in the opinion of the interested person, coincides with the suggested timbre of his own voice or already established, for example, by listening to a specialist vocalist at least. After that, he should free himself from his worries and listen to this recognized master voice at the appointed time. Moreover, it is imperative to listen at a listening volume of the receiving device close to the maximum, to obtain auditory sensations also close to their natural sound. And if possible, it is more expedient to organize a recording of the master voice in order to be able to repeat listening to it by themselves or others. The purpose of each listening is to memorize the sound of the master voice by ear and repeat this sound with your voice. With the coincidence of tones, repetition is not difficult. Even if it fails on the first attempt, after some attempts it will succeed. But in such cases, you will have to memorize additional muscle sensations, having previously determined them from the analytical analysis of the sound of the master voice with the search for coordination of the muscles of the vocal apparatus. After each even partial approach of your voice to the sound of the master voice, you should remember the muscular sensations and fix them to automatism with the preservation or additional improvement of the timbre. Repeated unsatisfactory results of attempts to repeat the sound of the master voice indicate the absence of such a voice or an error in its preliminary qualification and, therefore, it is necessary to repeat the tone check, for example, manual, and act in accordance with the result of this check. Or, if possible, repeat listening and repeating master voices with adjacent tones (for example, for bass - octave (bass profunda) or baritone, and for tenor-baritone or lyric tenor.

In the author’s practice, each listening to bass sound in concert halls, on television or on the radio resulted in repeated attempts to noticeably improve the sound of one’s own voice. In the intervals between episodic auditions, muscle sensations were fixed both at the stage of formation of the first and at the stage of the second level of chest resonance.

большой октавы. И что особенно радует - легкость фонации певческой, мощь звука без какого-либо признака ора, гарантированное отсутствие гримас с естественной артикуляцией, весьма убедительное богатство обертонов с приличной беглостью и легкостью управления уже придали уникальность голосу. Что же добавится при резонировании этого уже зазвучавшего интервала третьего регистра и введении в работу дополнительного интервала его до

контроктавы хотя бы. Стоит посмотреть!!!A situation is equally possible when, along with a partial improvement after listening, it is necessary to add a search for muscle coordination in the vocal apparatus, in which the sound of one’s own voice becomes more similar in auditory sensations to the sound of a master voice. In the author’s practice, such situations were repeated many times in the formation of chest resonance of the first level until September 4 of the current year. After that, in the work on expanding the range to the third register of the mentioned factors, only pedestrian loads were triggered, while we can note a direct proportion to the improvement in the length of the distance traveled and the pace of transition - the longer the distance and the closer the pace to the pace of sports walking, the more significant the improvement it practically does not require training to consolidate and bring to automatism. And if in the first period there was a need and predisposition to expand the range to the third register, in the second - the third register has already started - the period of absence of sound on the lower bass notes below the MI of the big octave ended during the working week and the range came close to the working sound of the interval from MI octave to

big octave. And what is especially pleasing - the ease of phonation of the singer, the power of sound without any sign of ora, the guaranteed absence of grimaces with natural articulation, the very convincing richness of overtones with decent fluency and ease of control have already given uniqueness to the voice. What will be added when resonating this already sounding interval of the third register and introducing an additional interval into operation up to

kontroktavy at least. Worth a look !!!

Example 5

Instrumental manualization is used to accurately determine the optimal position of the larynx and control the change in the interval of stable singing sound formation. Use a desktop or portable manipulator for this.

The desktop manipulator (Fig. 11) consists of a rack 24 with a ruler 25 and an arm 26 with a plug 27 at its free end. A crosspiece 28 is fixed at the lower end of the rack.

At the ends of the forks there is a soft foam padding, and the ends of the forks are fastened with belts 29, 30 (Fig. 12), on the free end of one of which there is a buckle, and the other has holes in the longitudinal plane for the buckle lock. The portable manipulator consists of a belt fixing system, sidewalls 31 with a cross member 32 mounted on the sidewalls with the possibility of moving along them and fixing in the desired position. Rulers are applied on the sides of the sidewalls (not shown conditionally) to count the position of the cross member, and in the middle of the cross member, a fork with a soft gasket and loops at the ends for the belt is made on the side facing the singer.

The fixation system of the portable manipulator on the singer consists of an upper block of pair of transverse 33 and 34 circumferential belts with a buckle connected to the upper ends of the sidewalls and the lower vertically oriented shoulder belts 35 (Fig. 13) with a buckle at the end of each of them.

Apply desktop manipulator as follows.

The singer sits down on a chair in front of the table and puts the manipulator on the table in front of him, unfolding the bracket with the fork 27 towards himself, and pulls the stand until it contacts the neck under the Adam's apple 36 of the fork 27. Keeping this position, fastens the straps 29, 30 on the neck to prevent slipping of the Adam's apple under the fork when swallowing.

After securely fastening the plug on the Adam's apple, he begins singing with the control performance of a musical phrase that most successfully sounds, in his opinion, with the free position of the larynx. After listening and remembering the sound of the voice, it displaces by 1.5-2 mm and fixes the plug 27 over the entire amplitude of the larynx movement, fixing it in each of them, sings the mentioned control phrase and compares the sound of the voice, and notes its change in auditory sensations. Having chosen the most successful sound, marks the position in which it is received. Then he performs a series of trainings in this position of the larynx with a finger or instrumental exposition of it, performing the entire volume of training - exercises or musical works from the repertoire according to the revealed or confirmed voice timbre. At the same time, it memorizes the sound of the voice by auditory and muscular sensations in the voice and breathing apparatus, and after each training session it checks the possibility of repeating such sound without instrumental manualization. If the repetition after several attempts does not work, then makes several attempts to get the sound heard with finger manipulation. After he can repeat the heard sound with finger manipulation, he conducts a series of doublet exercises in which the phrase, exercise or verse is sung for the first time in each tonality with finger manipulation, and repeats with the free installation of the larynx, continuing to memorize both auditory and muscular sensations, and also the coordination of all the muscles of the vocal and respiratory apparatus in this singing position of the larynx. And after practicing the automatism of singing coordination, one can gradually reduce the volume of staged trainings, and the time freed up is used for repertoire or stage work with controlling the sound of the voice according to its auditory sensations and feedback from listeners. Moreover, both in the production work, both the teacher (if any) and the singer should try to use every opportunity to apply the works of the future repertoire or part of them.

The floor manipulator is used similarly to the desktop one with the location of a crosspiece that sings on the platform and is connected to a stand that has a length corresponding to the average height of a person and for convenience it can be telescopic.

In addition to the auditory and muscular sensations during the formation of the phonetic phonation, and the correspondence of the singing voice to the classical sound of world samples of a voice of this type, an energy-resonance frequency diagram of frequency-Hz is additionally characterized with a conditional interval of resonant frequencies of the singing phonation set according to the declared manual technique (pos. 36), by traditional (pos. 37) and speech phonation (pos. 38). Accordingly, E ₂ (E ₁ )> E ”, E 'and L> l ₁ , where E ₂ , E ₁ and E”, E' is the resonance energy of I, II levels.

Example 6

In well-known vocal techniques there is a statement about the incompatibility of solo and choral singing, which implies that the soloists trained by the traditional method with their orh cannot physically sing in the choir, in addition because the main and more common mode of operation of the voice-forming apparatus of choristers should be singing in piano mode, which is for soloists of traditional singing, is the most intense even in solo singing. It can be assumed that the noted singing phonation feature of these soloists became the basis for the mentioned conclusion of phonation researchers and individual choirmaster practitioners about the impossibility of creating a first-class choir from the mentioned soloists.

Thus, the problem of combining solo and choral phonation is indicated by both parties, however, recognition is only the first half of the inconsistency that needs to be resolved. The second is characterized by the fact that choristers, especially professional choirs are most prepared for solo phonation. This follows from the fact that the chorus perceives it not only by auditory sensations, but even with elements of vocal hearing, it can evaluate phonation and muscular sensations not only on a two-point scale “like - not like”, but individually it can evaluate cantilena and singing and recitation, soloist breathing, voice flight with timbre, rounding and articulation, phrasing, dynamics, etc. Close to this level are some choristers of amateur choirs who have long or seriously worked on a solo program or repertoire. On the other hand, the quality of the choir’s singing, most of the choristers of which during the preparation of the choir’s repertoire purposefully worked on staging the voice and approached the set phonation, will certainly be noticeably better than choral singing with speech voices, the repertoire’s preparation will be much faster and easier, even if only for account exclusion singing in open voices.

Thus, the expediency of staging the singing voice of each chorist, who does not even claim solo performances, is obvious. The reality of the implementation of such expediency of voice choirs in the process of preparing the choir’s repertoire is also obvious in the presence of an easily mastered and implemented method of voice production of the type claimed manual. But not all reserves are used in the traditional methodology. In particular, for the staging mentioned above, it will be useful to divide each rehearsal into a production and repertoire part. Moreover, in almost any choir, such a division already exists: rehearsals in choirs begin with singing exercises in full voice, but with the whole choir, which is wrong. The first measure to improve this part of the rehearsal will be to perform the repertoire part reserved for mastering the melody of each new piece, only in a full voice and regardless of its emotional content. Only after a reliable mastery and reproduction of a new melody by the choristers of each part do they go on to process this new material for execution with the nuances embedded in it by a composer, director, artistic director or choirmaster. In this mode of rehearsal, the chorus voices will be staged automatically and over time, the need for a traditional chant with hysterical voices will gradually disappear. Simultaneously with this division of the rehearsal mode into staging and rehearsal parts, it is imperative to identify from the number of choristers those those whose voice mode is already consistent with singing coordination, but their voice has not been processed according to any parameter: rounding, breathing, articulation, cantilena, etc. . And if the staging part of the rehearsals is not put into practice by the choir, the general chanting of the aforementioned choristers should certainly be excluded, since the rest of the mass of choristers sing in voice voices and, therefore, they will "trample" the singing sound mode of the revealed choristers, knocking them into a voice too . Chanting of choristers with a singing mode should take place in a room isolated from the rest, into which the sound of the speech mode does not penetrate. Moreover, even in ordinary concerts of the choir, not related to festivals and competitions, anniversaries, it is possible to allow the unbalanced sound of soloists and identified choristers - temporarily “nail” until each of them can contrast the singing mode of his voice with the sound of the whole choir and Do not respond to it, changing the song to a voice.

Thus, by only reorganizing the rehearsal regime for 10 years with two rehearsals per week, the sound quality of the choir will be significantly higher. Using a manual technique, this result can be achieved in 3-4 years. And after that, both the choral and solo programs of such a choir will mutually reinforce the aesthetic impact on the listener, as opposed to their current opposition in concerts.

Example 7

A comprehensive assessment of the ability of the vocal apparatus to form a singing voice is used if the student does not have a primary tone in the voice, but a great desire for learning to sing is noted or he has demonstrated good plasticity, recitation cantilena or sincerity and charm in contact with others, sociability.

To do this, using manualization, the estimated type of voice timbre is determined. Then, choosing the most successful-sounding exercise, work or part of it, a series of staging exercises is carried out using the techniques and principles described in examples 1-6 with careful control of the effect on the sound of the voice, and the range of the speech voice and the factors effectively acting on the timbre are determined. With a favorable effect, expressed in a positive improvement in voice, training continues, and in the absence of noticeable changes, the manual determination of the type of timbre is repeated and the voice is recorded on the carrier. According to the result of the control of the type of voice, adjustments are made to the training plan and the next series of training is carried out taking into account the corrected plan and, again recording the sound of the voice on the medium, the auditory sensations of the voice are compared with the first and second recordings, then the training plan is again adjusted if necessary.

If there is a primary tone (interval) in the voice voice, by means of finger manipulation, the timbre of the voice portion located above the primary tone is checked, and the upper boundary of the sound of this section close to the primary sound is checked, the predicted boundary of the lower section is repeated. After establishing the estimated boundaries of the working range, additional sections of the voice are included in a series of trainings for the formation of a singing voice and in these sections by “smoothing” their sound with the sound of a primary tone. With such an extension of the working range, some exercises and factors will be more effective from above, and others, respectively, but it is more advisable to first enter a lower section into the working range with a series of trainings and check the sound of notes adjacent to the primary tone, since they also usually enter into the working range.

The applicability of the claimed solutions is proved by the totality of the techniques described in examples 1-6. Additionally, it confirms its acceleration of the author’s voice with the exclusion of ora, grimacing with natural articulation. The quality of the voice timbre set by the manual method, with the introduction of the third register into the working range, is enriched with overtones so that the bass, for example, the timbre, becomes similar to the tones of Gyaurov, Pirogov or Mikhailov.

Claims (13)

1. The method of setting the singing voice, which consists in the formation of the singing sound formation of the learner through vocal training, coordination of the muscles of his voice-forming apparatus, providing a high position in the sound of the voice, flight and breathing, with sound support and the primary inclusion of chest resonance, characterized in that the staging voices begin by monitoring the correct diagnosis of the type of voice of the learner by manual movement of the larynx over the entire amplitude of its ec of natural movement with stops at regular intervals, fixing it in each of them and checking the sound of the voice with a vocal ear, a teacher, for example, or recording in each position on a magnetic or electronic medium for subsequent selection of the position of the larynx with the closest sounding voice to the sound of the masters voice opera singing with a recommendation to the learner to remember this chosen sound and its muscular sensations while maintaining it through vocal training and with free automatic installation of the larynx and in the aforementioned optimal position for singing, while the range is increased by sequentially purposefully introducing third-register notes at the lower end into the working range of the voice, while simultaneously controlling the sound of the upper notes of the voice range and reinforcing the newly sounded notes with vocal training, with the development of phonon breathing and two-level chest resonance. 2. The method according to claim 1, characterized in that the larynx in vocal training is manually set and fixed in a position optimal for a given type of voice and set in timbre control according to muscular sensations or along the line of a device for manualization and performs an exercise in tonality of the lower part of the range , repeat the exercise in this tonality while maintaining the sound of the voice when the larynx is freely installed by lowering the hyoid bone and fixing it in this position by the muscles of the sound-forming apparatus and after and in another pitch up or down the band and then perform exercise while maintaining sound and free installation and fixation of the larynx in the optimum position, as in keys with impaired sound manual'nuyu repeated installation and fixing of the larynx. 3. The method according to claim 1 or 2, characterized in that the larynx of the learner is set to the desired position by manually moving the Adam's apple for low voices by pressing a finger on its upper edge to move and hold the larynx in the lower position, and for high voices on the lower side Adam's apple for moving and holding the larynx in the upper position, and the optimal position of the larynx is determined by the auditory sensations of the learner and / or teacher or by the muscular sensations of the learner. 4. The method according to claim 1 or 3, characterized in that the instrumental installation of the larynx of the trainee in the desired position is performed with a fork of a manual device mounted on the shoulder girdle and / or neck with buckles, floor-mounted or desktop devices, while the teacher-vocalist with the student, they control the improvement of respiratory rate in the respiratory system and at the same time fixation of the volume of the cavities with the opening of the airways to move and output sound, as well as the formation of vocal hearing and its use to eliminate shortcomings in the voice-sound generation apparatus of other trainees. 5. The method according to claim 1 or 3, characterized in that the manual movement of the larynx for preliminary determination of the type of voice is performed over the entire amplitude of its movement with sound checking every 2-3 mm, and in the area of improved sound by timbre, flight, sound power or muscular sensations repeat the test with movement every 1.5-2.0 mm. 6. The method according to claim 1, characterized in that the thoracic resonance of the first level is formed by introducing into the resonance mode the cavities of the respiratory system — the supra-ligament and sub-ligament tubes, pharynx, stem bronchi and alveoli of the lungs with their capillaries, oral cavity and nasopharynx, and The resonance level includes the lungs, the musculoskeletal system of the chest with the spine, the diaphragm and the abdominal wall with the simultaneous resonance of all the mentioned elements of the second level or part of them. 7. The method according to claim 1, characterized in that for the formation of thoracic resonance of the first level, the technique of "ventriloquism" is used with the exception of exaggerated lowering of the lower jaw while simultaneously eliminating masking by mentally prohibiting acoustic transmission of sound into the mask, to enable the second level of thoracic resonance at the same time with the reception of “ventriloquism”, the volumes of the chest cavity and the cavities of the supra-ligamentous and sublingual tubes are fixed, and for the development of the skill, the coordination of the muscles of the sound-forming apparatus is maintained is the lowest operating band music singing voice at all his notes, regardless of the pitch and height of the melody, and then added to the operating range should be re-sounded note or interval of the upper end of the range. 8. The method according to claim 1, characterized in that for the formation of phonon respiration, the learner develops the skill of short and vigorous inspiration, followed by stopping expiration and fixing the volumes of the chest, cavities of the respiratory system, pharynx and diaphragm for the entire duration of phonation of a musical or speech phrase, set according to the plan of the singing, composer or stage director with the flow of air in the lungs and the ligamentous tube, with the sensation of pressing the sound stream to the rear half-cylinder of the ligamentous and ligamentous tubes, and after The singer also makes a short and energetic exhalation of all the air from the lungs or its remains, at least in the initial stage of the production, turning into inspiration for the next phrase. 9. A method of teaching resonant singing, containing the formation of singing sound formation through vocal training for targeted search and mastering by students with the methodological guidance of a cantilena vocalist teacher, muscle coordination of the voice-forming apparatus, providing singing sound formation and flight sound sounding with working out the stability of the singing voice, consolidating this coordination to stable automatism with free movement of the larynx to the optimum position for a given type of voice singing and fixing it in it for the whole time of phonation of each musical phrase or part of the hyoid-sternum muscles, with sequential rounding of the sound of the ligaments in the throat area with the tongue displaced into it and the root down and covering the entrance to the larynx with the epiglottis, with the natural diction of the text of the performed work , followed by the movement of the vowels rounded in the throat of the sound into the oral cavity and the natural articulation of consonants in the vocabulary text of the work, which ensures that piles are included in the process of singing phonation resonance and then the head, stabilization of the resonance with the predominance of the chest on the tones of the lower register, and the head on the tones of the upper register of the voice range at all sound levels from pianissimo to fortissimo, consolidating this coordination to stable automatism, with control and elimination of uncontrolled random transitions a singing sound from a rounded - covered to speech flat - open, colorful voice with the mentioned rounding of vowels in the throat and articulation of consonants in the oral cavity, with a definite Dividing the type of singing voice timbre at the beginning of voice production, combined with work on the formation of vocal hearing and professional psychological qualities of the singer’s personality, combined with learning, singing the educational and stage repertoire of predicted professional activities, characterized in that the combined training in resonant singing and staging the teacher-vocalist performs the singing voice, realizing the principles of athleticism - the motor nature of phonation, the inconsistency of the physiology of phonation, and is perceived I’m using her hearing, which determines the high degree of development of vocal hearing for the correct analysis of the singing voice when assessing its perfection or searching for ways to correct identified shortcomings, the principle of collective search with the creation of a search team, the teacher is a student trained with each student or the education of the general group search mode, the spread of the principle of three-register human voices to low, at least male voices with the principle of the sequence of formation of pure sound of each the voice of the voice range with occasional, at least, the use of manual manual or instrumental installation and fixation of the larynx in the position required for singing and sound production, with the formation of phonon breathing and the use of factors in the voice production that contribute to the formation of the singing voice - solo performances concerts, physical activities, group and / or individual listening to the sound of the delivered voice, with each student repeating the listened master -voice, in their combination and / or with the selection of the most effective ones for a particular student, and in the voice-setting work, the said search team concentrates efforts on the sequential formation of two-level chest resonance by, among others, receiving “ventriloquism” to form the skill resonance of the first level while maintaining coordination and muscle sensations of the lower note of the lower register in the process of phonation of notes of the upper register, for the formation of resonance of the second level, with the possibility of automatically connecting and adjusting the head resonance and the complete independence of the sound of the voice from the singing pose, with the sequential introduction into the resonance mode of the sections of the voice-forming apparatus from the ligaments to the diaphragm with an increase in loads and the selection of preferred factors contributing to the acceleration of the production of a singing voice, the formation of vocal hearing in each creative collective "teacher - student" with the development and consolidation of the skill of self-duplication of search and use methods of eliminating collectively identified imperfections in the voice to create muscular phonation sensations when singing in the form of the appearance of a vibrational column in the chest and the multi-resonance of singing sound production, taking into account the location of the apparatus ligaments between the chest and head resonators. 10. A method for determining the ability to form a singing voice, including determining the high and low singing formants in a voice, characterized in that if the student does not have a primary interval or tone, the teacher-vocalist conducts several trainings to familiarize himself with the voice of the learner and establish his range, after what the teacher with the student chooses one of the exercises, the work or part of it and record the performance with his speech voice, then perform a voice check with manual installation of the throats nor a student sequentially across the entire range after 2-3 mm to determine the area with the sound closest to the song, on which the test is repeated with the manual position of the larynx through 1.5-2.00 mm to accurately determine the position of the larynx with a greater approximation to the song sound , then fixing the larynx in this position, the student performs the exercise, changing the tone through a semitone, tone, third or quadra to establish the initial range of the singing voice, its timbre, and then repeat the test with manualization the position of the larynx and the technique of “ventriloquism”, evaluating the result through the teacher’s vocal hearing and the learner’s muscular sensations, recording sound or measuring the frequencies of the high and low singing formants to analyze them and deduce the perspective of voice production and its parameters, taking into account the muscular sensations of the learner and vocal hearing the teacher, periodically adding to the first control recordings recorded after each sound improvement using the introduction of lower third register notes and m techniques, are the prohibition of transmission of the acoustic sound of the voice component in the "mask". 11. A device for teaching resonant singing and staging a singing voice, made with its reposition means with a voice-forming apparatus, including a guide, pads and means for contacting the student's larynx, characterized in that the means for contacting the larynx is equipped with a stop with a fork mounted on the guide with the possibility of movement along it to move the larynx to the position required for this type of voice and fix it in this position for the duration of phonation, while the pads are placed on the plug, and the guide has at least one ruler for monitoring the position of the larynx, and the means of reposition of the device with the voice-forming apparatus is made portable, or desktop, or floor. 12. The device according to claim 11, characterized in that the portable means of reposition has a support element for placement on the student’s head at the forehead level, made in the form of a circumferential belt with a buckle having the ability to change and fix its length, and connected to it in the middle of the side sections of the transverse belt, at the ends of which the upper ends of the side rails are fixed in the form of rods, the lower ends of which are connected to the corresponding lateral sections of the shoulder or chest belt, with a sleeve with the ability to move along it, and the bushings are connected by a cross member, in the middle of which a fork is installed to interact with the upper or lower edge of the front side of the Adam's apple, the bushings have a fixing screw, and the rods have a millimeter ruler with digitization of every fifth or tenth risk. 13. The device according to claim 11, characterized in that in the floor or tabletop reposition device, the support element consists of a guide rack with a cross at the lower end for mounting it on the table in front of the student, for example, the ends of the fork are equipped with straps for placement on the student’s neck having means for fixing their length, and the ruler is located on the side of the rack facing the learner, under the mounting and fixing bracket on the stop counter with a fork at the end equipped with gaskets for contacting the front side of the Adam's apple.

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