Chorus training

Chorus is a comprehensive art, which has higher requirements for students, especially children, and is more difficult to train. However, as long as teachers adopt the right methods and through long-term, step-by-step and targeted training, students can make a harmonious, beautiful and infectious voice. I. Chorus Organization (1) Choir selection and voice division have higher requirements for students, that is to say, it should be carried out on the basis of students' reading, listening and basic singing skills. Therefore, the members of the choir should be students with excellent academic performance, good voice, wide range, accurate tone, strong listening ability and interest in music. The voice change period before children can generally be divided into two parts: tenor and bass. The usual dividing method is to divide children in high-pitched areas into high-pitched parts for children. Children in high-pitched areas are nervous and struggling, while children in low-pitched areas are divided into low-pitched parts, and the number of the two parts is roughly equal. Children who can read music and listen can blend in bass appropriately. (2) Correct formation arrangement and sound arrangement are important conditions for chorus training and performance. All members of the chorus should form a small semicircle (that is, an arc) instead of a straight line. Children's treble is on the left. Children's bass line is on the right, tall people stand in the middle, short people stand on both sides, the second row is higher than the first row, the third row is higher than the second row, and so on, so that every player can see the conductor. Second, the basic training of chorus Before entering the formal chorus teaching, we must first carry out breathing training and vocal music training for a period of time, so that all the players can master the basic knowledge and lay a good foundation for chorus teaching. Because primary school students are relatively young, they must also pay attention to the methods of vocal music training. How to make students master the correct vocal methods as soon as possible through effective vocal training, and how to better express music works with harmonious and unified voice? This is a question that every musician often discusses. Below, combined with my usual teaching, talk about some superficial experiences. (A) the correct posture is that the basic person is an inseparable organic whole. When vocalizing, all parts of the body must cooperate with each other and coordinate their work, which is conducive to correct vocalization. Therefore, correct posture is the basis of vocalization. The correct vocal posture is: whether sitting or standing, the body is straight and natural, the arms are naturally drooping, the eyes are looking straight, the head should not lean forward or backward, and the facial muscles are naturally relaxed. In view of this situation, I always pay attention to students' vocal posture, correct incorrect vocal posture at any time, and explain vocal posture through my own demonstration and comparison of correct and wrong postures. So when I was training in the school choir, I explained the correct vocal posture from the beginning. Then I always pay attention to the students' vocal posture. No matter whether I am playing the piano or conducting, whenever I find a student's incorrect vocal posture, I will immediately remind him or her to learn his or her wrong vocal posture first, and then show him or her the correct vocal posture, so that the student can immediately understand my meaning and correct his or her wrong posture. After a period of training, the player can basically make a sound with the correct posture. (2) Correct mouth shape is the key. Correct mouth shape is the key to vocal music training. Because only with the correct mouth shape, the sound is mellow. Therefore, the key to vocal music training is to form a correct mouth shape. How to form a correct mouth shape? When singing, you should open the following three parts: first, you should open the upper and lower palates at the same time. The upper jaw is lifted up. Second, the back of the mouth opens like a yawn. Third, the external mouth shape of the mouth should be "vertical opening". In view of this, I inspire students to use "biting an apple" to experience the opening shape of the maxilla when it is lifted, and "yawning" to experience the feeling of lifting the soft palate and opening the growl. And keep practicing, so I always ask students to do "vertical opening" exercise about one minute before each training. I ask students to touch the mandible near their ears with both hands, and then practice "vertical opening", experience the practice of "vertical opening" and experience the concave and convex phenomenon when "vertical opening". Or let the students hold the chin and pull it down once to experience the feeling of relaxation of the soft palate when it is opened vertically. Let the students help me do it one by one. Try to let every student relax and sing. In this way, students can basically open their mouths up and down as soon as they open their mouths, forming a correct mouth shape. (3) The correct breath is the root of singing breath, which will directly affect the intonation and timbre when singing. Therefore, mastering the correct concept of singing breath and the correct method of controlling singing breath is an important guarantee for vocal music training to achieve sound unity and harmony. So I always put breath training as the basis of vocal music training and put it in the first place. I always pay attention to let students carry out breath training, ensure that students establish a correct concept of singing breath as soon as possible, and initially master the methods of controlling breath, so as to lay a solid foundation for further obtaining a harmonious and unified voice. So every time I train, I will spare the first two minutes for breathing training. I ask every student to put his hands on his hips (be careful not to shrug) and take a deep breath. I feel that the diaphragm is swollen, which means that the students' breathing has been sucked to the degree I asked. Then continue to practice inhaling and exhaling to consolidate it. Try to breathe in very deeply. When you start singing, you won't hold your chest tight and sing. While the students were doing breathing training, I strengthened the tour guidance. Some beginners can't find a breathing point at first, so I let them touch my waist, feel what I look like when I breathe in and out, and then start practicing by themselves. After a period of time, students will naturally sing with anger. Third, the chorus works training (1) familiar with songs and master melody. When you enter chorus training, you must have the right steps, otherwise you will get twice the result with half the effort. For the two-part melody, students should generally learn the bass part first, because the high-pitched part is often the main melody part, which is relatively smooth, while the bass part has poor fluency and is difficult to learn and remember. Before learning a new song, the first impression is very important. The characteristics of children's learning are learning quickly and remembering firmly. According to this feature, we should adopt the "preconceived" method, but students have not accepted it. Chorus teaching generally adopts solfeggio, that is, it guides children to read music continuously and requires accurate pitch and rhythm. Every time you practice singing, you should use a slower speed and try to be coherent and complete. There should be various ways to read music and practice singing, so as to avoid students from feeling tired because of boredom. Don't fill in the lyrics when singing. Let the students sing these two parts first, and then practice them. In the practice of voice division, we should focus on guiding students to sing the melody of their own voice. Besides accurate pitch and rhythm, we should also pay attention to correct clauses, breath maintenance and volume control. Then, we can sing along with the humming, which can not only reduce the intonation problem after lyrics, but also enable students to better understand the content, meaning and intonation of the song. After mastering the melody of each voice, you will enter the stage of lyrics singing. When practicing together, sing softly and slowly under the guidance of the teacher. The teacher listens carefully to the whole chorus effect when guiding the children to practice singing. (2) Chorus Chorus, an art form that deals with songs and expresses connotations, is best at expressing people's common aspirations and the voice of the times, and can inspire people, unite people and publicize the masses in different historical periods. Chorus not only makes people enjoy three-dimensional beauty with its rich harmony, but also shows rich and delicate emotions, giving people spiritual pleasure and soul shock. The handling of chorus songs is an important means to improve students' singing expressive force, and it is also the core of chorus teaching task and aesthetic education in chorus class. When I deal with chorus songs, I focus on the combination of "sounds and words" and understand the spiritual essence of songs. 1, "Full of sound and emotion" When singing songs, we should pay attention to the singing method, with words with sound, with emotion with sound, clear pronunciation and mellow voice, and pay attention to the clear, affectionate and straightforward words. In addition, articulation and articulation also affect the purity of voice and the expressive force of singing. When I deal with songs, I combine "sound and words" to teach. Not only is the voice beautiful and harmonious, but the lyrics are clear and the content is touching. For example, in the teaching process of the song "Let's Shake Up", I use the method of initial consonant connection to train, so as to achieve the timbre of human voice and the * * * of chorus. Starting from the content of the lyrics, students should bite the prefix when singing every word, spit lightly, naturally, and understand the connotation of the lyrics, so that students can appreciate the overall beauty and enthusiasm of the song. The combination of "voice and personality" can make songs sound beautiful, articulate and full of passion. 2. Understanding the spiritual essence of songs Music is an emotional art, which affects people and thus achieves educational purposes. In the process of song processing, on the basis of understanding the spiritual essence of songs, students are guided with sincere and rich emotions, so that students are infected and produce * * * songs, which will well handle the overall artistic image of songs. Singing every song and chorus can only be done with your heart, and you must never ignore its spiritual essence because it is simple and easy to sing. Only by maintaining the authenticity of its times and attaching importance to its artistic value can each song have vitality and appeal. Therefore, after mastering the basic melody, each chorus part should be artistically treated in order to better express its content. The artistic treatment of chorus songs is more detailed, more complicated and more demanding than chorus. Specifically, it includes the following points: (1) The orderly unification of all parts is the premise and foundation of the overall harmony and unity of chorus. It requires the unity of pitch, rhythm and singing methods (breathing, vocalization, articulation, continuous reading, discontinuous reading, staccato, clause, pause and ventilation, etc.). ) and timbre. (2) The position and function of each voice in chorus are different and should be treated differently. Generally speaking, the dominant melody should be highlighted on the basis of balance and coordination. Other auxiliary melodies are relatively weak. But the lines of each voice should be clear. (3) The technical treatment of chorus intonation is complicated, and how to achieve sound harmony when the two parts are combined with each other requires many efforts. For example, according to the characteristics of modal scales and the characteristics of various intervals, special exercises are carried out to focus on solving individual difficulties in chorus intonation. (4) In-depth analysis of the theme, structural characteristics and style of the work, so that children can fully understand the work and consciously sing according to the speed, strength and expression specified in the work. For example, when I was teaching the song "Let's Make a Double Slurry", I adopted the teaching method of "combining sound with pictures" to properly let students fully understand the spiritual essence of the song: this song was written in the mid-1950s, and it was an episode in the movie "Flowers of the Motherland", written by Qiao Yu and composed by Liu Chi. This is a beautiful and lyrical two-part children's chorus song with minor nature. This song is full of movement. When I was in the choir of the second music form, I asked them to imagine paddling hard in the water and sailing in a canoe. After students fully understand the spiritual essence of songs, they will experience and perform songs with their heart and better express their works. In any case, chorus teaching is not only to let students sing a part or a song, but also to cultivate students' harmonious hearing, develop students' harmonious thinking and improve students' chorus skills and abilities through chorus training. Therefore, students are required to master the melody of all parts. Only when two parts understand each other's artistic requirements can they adjust their own volume and speed to achieve the effect of sound harmony. In a word, chorus teaching is of great significance to stimulate students' interest in learning music and cultivate their musical aesthetic ability, expressive ability and ideological and moral education. Through expressive singing, students can truly feel the charm of chorus art, cultivate their ability to read music independently, develop their musical hearing and memory, improve their musical literacy and appreciation ability, and understand and master various musical expression means. Chorus can also cultivate students' collective concept and group consciousness, cultivate sentiment, enlighten wisdom, enhance unity, and make students develop physically and mentally healthily. On the teaching of two-part chorus in primary school: Music and singing teaching in primary school has joined two choruses since middle school. The so-called chorus is that each part of a multi-part song has a group of people singing. The expressive force of chorus songs is much richer than chorus songs, and chorus is more conducive to cultivating students' sense of hearing and music. The teaching of two-part chorus is the key and difficult point of singing teaching in middle and senior grades of primary schools. In order to teach the two-part chorus teaching well, in the teaching practice, I tried to take the following measures and received good teaching results. First, from the "listening" to stimulate interest in learning "interest is the best teacher", interest is the driving force for students to learn. Singing teaching in lower grades is generally based on chorus. Constant chorus and solo make students feel bored gradually, which affects their enthusiasm for learning. Teachers timely let students enjoy some chorus songs, and give enlightening guidance before enjoying chorus songs, so that students can compare the acoustic effects of chorus and chorus, and make them realize that the former has richer expressive force and fuller voice than the latter, thus stimulating students' interest in learning chorus songs. For example, when teaching the fifth lesson "Seagull" in Book 6 of the music textbook, I asked my students to imitate the flight of seagulls. First of all, I inspire students to discuss the differences in height and strength between seagulls flying in the sky and seagulls flying at sea. Then I asked them to discuss how we would behave if two seagulls with different heights sang at the same time. Teacher's summary: The two groups sang at the same time, but kept the pitch and volume of their voices. Through practice, students' interest in learning is stimulated, their enthusiasm for learning is greatly improved, and the simplest two-part chorus teaching is successfully completed. With the deepening of teaching materials, the difficulty of chorus gradually increases according to the principle of step by step, so that students always maintain a strong interest in learning and chorus teaching has achieved good results. Second, from chorus to two-part chorus, it is a special form of chorus to use transliteration as a transitional transliteration. The solo song is sung by two groups. After the first group starts to sing a few beats or pats, the second group joins in singing the same melody, which is called rotation. Its characteristic is that each voice imitates each other regularly, that is, the following voices imitate the melody of the previous voice in turn at a certain time distance. For example, the song "Happy Song" in Lesson 6 of Book 6 starts from the second part and is sung in turn, imitating paragraph by paragraph, and the two voices echo back and forth, showing the happy scene of children singing together. The premise of rotating singing is that students learn to sing songs with accurate melody, pitch and rhythm. When singing in turn, we should pay attention to the neat beat, emphasize the strong beat, and balance the volume of the two parts, so that we can listen to the other part while singing our own part correctly, avoid shouting and rushing to beat the other part, and speed up. Grasp your own voice, keep each voice independent and clear, and not be interfered by another voice, which lays a good singing foundation for the chorus of two voices with different melodies. The third is to "strengthen" the low part after the low part. For two-part chorus, students have a misunderstanding that the bass part is difficult to sing, while the treble part is much easier. This is because the high-pitched part has a high pronunciation position and bright timbre; But the bass position is low and the timbre is slightly stronger. It sounds that the bass part is easily disturbed by the treble part, and the treble part is more obvious, which leads students to learn two stereotypes: the treble part is easy to sing. In order to avoid this phenomenon, teachers should make students "preconceived". First of all, let the students listen to two parts at the same time when listening to the model singing for the first time; When listening again, pay attention to the melody in the bass. Secondly, when learning to sing, first learn to sing in the low voice, then learn to sing in the high voice after the students are proficient in the low voice, and then synthesize the voice. Especially for songs with the same starting point and singing in two parts at the same time, students should master the intonation of the low part first, and then learn the high part. For example, in the third lesson of Book 10, "Let Fantasy Spread its Wings and Fly", when entering two parts, both parts start with the same sound "1" and jump at the same time. Because they are all big jumps (six degrees in the high-pitched part and four degrees in the low-pitched part), it is difficult to master the pitch, especially in the low-pitched part, and it is easy to sing "4" into the same pitch as "6". When learning to sing, the teacher first guides the practice of the bass part, then learns the treble part after mastering this pitch, and finally synthesizes the two parts. It reduces the "difficulty" of students' learning and improves the singing enthusiasm of the lower voice. However, it should be noted that the so-called "strengthening" of the lower part does not mean that the transaction volume should exceed the upper part. Always pay attention to the independence and unity of the two parts, and keep the balance and harmony of the two parts. Fourth, the combination of listening and singing, and constantly improve singing skills in chorus practice, after learning the melody of each part, it is not appropriate to practice the parts too much, and let students practice listening and singing in the rich sounds of the two parts as much as possible. When students concentrate on practicing one part, let the other part sing their own voice softly, which is more conducive to students to feel the effect of chorus and gain more comprehensive chorus skills. In order to train students' anti-interference ability, teachers can also train students' listening and singing ability by using the method of students singing part and piano accompaniment part. When students practice chorus, the teacher's accompaniment can play two parts at the same time, or the old normal teacher can sing one part and accompany the other part with the piano, so that students can listen to each other and improve their singing skills in listening and singing. Give full play to the advantages of duet and improve chorus skills. A two-part song is sung by one person in each part, which is called "duet". The form of duet is almost similar to duet, but more difficult than duet. Teachers should give students personal practice opportunities, so that some students with higher singing level can practice duets step by step, thus driving the whole two-part chorus. Sixth, make full use of classroom instruments to grasp the melody of each voice. When students first practice chorus, it is not easy to grasp the melody of their respective voices, and they will "go out of tune". Conditional classes can use classroom instruments to help master the melody. Students sometimes can't sing correctly, but the melody played by musical instruments is accurate. Doing a simple ensemble practice before the chorus and singing on the basis of playing and listening can also avoid "out of tune" in the chorus. For example, the chorus in the sixth lesson of Book 9 shows the happy laughter of mother and child, and there is almost no melody sound. First, guide students to play on clarinet, reproduce simple ensemble exercises, and then sing. This reduces the difficulty of chorus and solves the key and difficult points of this lesson. Through the above practice, students' sense of hearing and music has been greatly improved, chorus skills have been comprehensively trained and music classroom teaching has achieved good results.