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Choral rehearsal method of its organization and conduct. Organization and conduct of rehearsal work

Rehearsal process in the junior choir

Report

TEACHER OF THE VOCAL AND CHORAL DEPARTMENT
MBUDOD "ZARECHNENSKOY DSHI"
 DEAD ELVIRA SEITVELIEVNA .
Vocal education in the choir. The concept of vocal and choral skills.
Vocal education in the choir is the most important part of all choral work with children. The main condition for the correct formulation of vocal education is the preparedness of the leader for singing lessons with younger students. The ideal option is the case when the choirmaster has a beautiful voice. Then all the work is based on the shows held by the choirmaster himself. But other forms of work also make it possible to successfully solve the issues of vocal education. In such cases, the choirmaster often uses a show with the help of the guys. By comparison, the best samples are selected for display. In every choir there are children who by nature sing correctly, with a beautiful timbre and the right sound production. Systematically applying, along with collective vocal work, an individual approach to choristers, the teacher constantly monitors the vocal development of each of them. But even with the most correct formulation of vocal work, it brings different results for different choristers. We know that just as there are no two outwardly identical people, so there are no two identical vocal apparatuses.

It is well known how important attention is in the process of mastering any material. "Attention is the direction of mental activity and its focus on an object that has a certain significance for the individual (sustainable or situational)."
Vocal work in a children's choir has its own specifics compared to work in an adult choir. This specificity is due, first of all, to the fact that the child's body, unlike the adult, is in constant development, and, consequently, change. It has been proved by many years of practice that singing in childhood not only not harmful, but also beneficial. We are talking about vocally correct singing, which is possible if certain principles are observed. Singing promotes development vocal cords, respiratory and articulatory apparatus. Properly conducted singing strengthens the health of children.

And in order for development elementary school student in the choir was going right, it is necessary to form him about basic vocal and choral skills. These include:
Singing installation
Students must learn about the singing installation, as the basis for the successful development of educational material.
Conductor's gesture
Students should be familiar with the types of conductor gestures:
- Attention
- breathing
- start singing
- end of song
- change the strength of the sound, tempo, strokes according to the conductor's hand
Breathing and pauses
The teacher should teach children to master the technique of breathing - a silent short breath, the support of breathing and its gradual expenditure. At later stages of training, master the technique of chain breathing. Breathing is brought up gradually, therefore, on initial stage training, the repertoire should include songs with short phrases with the last long note or phrases separated by pauses. Next, songs with longer phrases are introduced. It is necessary to explain to students that the nature of breathing in songs of different movements and moods is not the same. Russian folk songs are best suited for working on the development of breathing.

sound production
Formation of a soft sound attack. Hard is recommended to be used extremely rarely in works of a certain nature. Exercises play an important role in educating the correct formation of sound. For example, singing in syllables. As a result of work on sound formation - the development of a single manner of singing in children.
Diction
Formation of the skill of clear and distinct pronunciation of consonants, the skill of active work of the articulatory apparatus.
build, ensemble
Work on the purity and accuracy of intonation in singing is one of the conditions for maintaining the system. Purity of intonation is facilitated by a clear awareness of the feeling of “mode”. It is possible to educate modal perception through the development of the concepts of "major" and "minor", the inclusion of various scales, the main steps of the mode in the chants, the comparison of major and minor sequences, singing a kappella.
In choral singing, the concept of "ensemble" - unity, balance in the text, melody, rhythm, dynamics; therefore, for choral performance, uniformity and consistency in the nature of sound production, pronunciation, and breathing are necessary. It is necessary to teach the singers to listen to the voices that sound nearby.

DEVELOPMENT VOCAL AND CHORAL SKILLS WHEN WORKING WITH YOUNGER GROUP OF CHOIR
The initial stage of work with the junior choir
The junior choir, as noted above, is characterized by a limited vocal range. Before the first octave -re - mi-flat of the second octave. Here the timbre of the voice is difficult to determine by ear. Rarely pronounced sopranos, even rarer altos. In this regard, we believe that at the beginning of classes, division into choral parts is inappropriate. Our main task is to achieve the unison sound of the choir.
The younger choir is faced with the task of mastering the conductor's gestures and developing a good reaction to them (attention, breathing, introduction, withdrawal, fermata, piano, forte, crescendo, diminuendo, etc.). Particular attention here should be paid to breathing - wide breathing in phrases. Each session of the junior choir (the choir practices once a week for 45 minutes) usually begins with singing, followed by choral solfeggio exercises. We write all the songs we learn on the board. Sometimes we use the relative technique: instead of an uncomfortable key with many signs on the board, we write the nearest convenient one, for example, instead of D flat major, D major, instead of F minor, E minor, etc. Learning a song can start with the voice (by ear), especially in the first stage, because overuse of notes can push children away from lessons (difficult!), but then you need to return to the notes.

Singing melodies from notes brings certain benefits. Firstly, children get used to singing from notes, and secondly, a psychological restructuring takes place: “it turns out that it is interesting to sing from notes, and it’s not so difficult.”

We necessarily take into account the peculiarities of the age of children, which we noted in the first chapter of our study. So, in the lower grades, children get tired pretty quickly, their attention is dulled. For its concentration, one has to alternate a wide variety of methodological techniques, actively apply game moments, and build the whole lesson along an increasing line.

The choral lesson, in our opinion, should take place quickly and emotionally. In the future, every good choir is an asset for rehearsals, singing at the training camp. The use of a complex of various methods and techniques should be focused on the development of the basic qualities of the singing voice of children by stimulating, first of all, auditory attention and activity, consciousness and independence.

Same way necessary condition The formation of vocal and choral skills is the correct selection of the repertoire, and the leader of the choir must take care of this in advance, as this is very important: how they will sing depends on what the children will sing. In order to choose the right repertoire, the teacher must remember the tasks assigned to the choir and the selected work should also be aimed at developing certain skills. The repertoire must meet the following requirements:
a) be educative
b) be highly artistic
c) Appropriate to the age and understanding of children
d) Correspond to the capabilities of this performing team
e) Be diverse in nature, content
e) Selected difficulties, i.e. each work should move the choir forward in acquiring certain skills, or reinforce them.

You should not take complex and voluminous works. For children who will sing this, it may turn out to be an impossible task, and this will necessarily affect their productivity in their work, and may lead to fatigue, indifference to the work in which he is engaged, in some cases even alienation from choral singing in general (depending on the nature ) child. But complex works should be included in the repertoire, they should be taken with caution and taking into account all subsequent work. At the same time, a large number of easy pieces should be limited in the repertoire, since the easy program does not stimulate professional growth. And also, naturally, it should be interesting to the choristers, this even gives some relief in the work, as the children will strive to work as best as possible and listen to every word of the leader.

Hearing development techniques aimed at the formation of auditory perception and vocal-auditory representations:
auditory concentration and listening to the teacher's display for the purpose of subsequent analysis of what was heard;
comparison various options performance in order to choose the best;
introduction theoretical concepts about the quality of the singing sound and the elements of musical expressiveness only on the basis of personal experience students;
singing "in a chain";
modeling the pitch with hand movements;
reflection of the direction of movement of the melody with the help of a drawing, diagram, graph, hand signs, musical notation;
tuning to the key before singing;
oral dictations;
the allocation of particularly difficult intonation turns into special exercises that are performed in different keys with words or vocalizations;
in the process of learning a piece, change the key in order to find the most convenient for children, where their voices sound the best way.

The main methods of voice development related to sound formation, articulation, breathing, expressiveness of performance:
vocalization of the singing material with a light staccato sound to the vowel “U” in order to clarify the intonation during the attack of the sound and during the transition from sound to sound, as well as to remove the forcing;
vocalization of songs on the syllable "lu" in order to equalize the timbre sound, achieve cantilena, perfect phrasing, etc.;
when singing ascending intervals, the upper sound is performed in the position of the lower, and when singing descending - on the contrary: the lower sound should be performed in the position of the upper;
expansion of the nostrils at the entrance (or better - before inhalation) and maintaining them in such a position when singing, which ensures the full inclusion of the upper resonators, with this movement the soft palate is activated, and the elastic tissues are lined with elastic and more solid, which contributes to the reflection of the sound wave during singing and, consequently, sound cutting;
targeted control of respiratory movements;
pronunciation of the text in an active whisper, which activates the respiratory muscles and causes a feeling of sound support on breathing;
silent, but active articulation during mental singing based on external sound, which activates the articulatory apparatus and helps to perceive the sound standard;
pronunciation of the words of songs in a singsong voice at the same height in slightly elevated voices in relation to the range of the speech voice; At the same time, the attention of the choristers should be directed to stabilizing the position of the larynx in order to establish a speech voice;
variability of tasks when repeating exercises and memorizing song material due to the method of sound science, vocalized syllable, dynamics, timbre, tonality, emotional expressiveness, etc.

Work on vowels.
The main point in working on vowels is to reproduce them in their pure form, that is, without distortion. In speech, consonants play a semantic role, so the not entirely accurate pronunciation of vowels has little effect on the understanding of words. In singing, the duration of vowels increases several times, and the slightest inaccuracy becomes noticeable and negatively affects the clarity of diction.

The specificity of the pronunciation of vowels in singing lies in their uniform rounded manner of formation. This is necessary to ensure the timbre evenness of the sound of the choir and to achieve unison in the choral parts. Vowel alignment is achieved by transferring the vocal correct position from one vowel to another with the condition of smooth restructuring of the articulation patterns of vowels.
From the point of view of the work of the articulatory apparatus, the formation of a vowel sound is associated with the shape and volume oral cavity. The formation of vowels in a high singing position in the choir presents a certain difficulty.

The sounds "U, Y" - are formed and sound deeper and farther. But phonemes have a stable pronunciation, they are not distorted, in words these sounds are more difficult to individualized pronunciation than "A, E, I, O". To different people, they sound about the same.
From this follows the specific choral use of these sounds in correcting the "variegation" of the sound of the choir. And the unison is achieved more easily on these vowels, and the sound is well aligned timbre. When working with works, after singing a melody to the syllables "LU", "DU", "DY" - performance with words will acquire greater evenness of sound, but again, if the choir singers carefully monitor the preservation of the same setting of the articulatory organs, as when singing vowels "U" and Y".

The pure vowel sound "O" has the properties that "U, Y" but to a lesser extent.
The vowel sound “A” gives the greatest diversity to singing, since different people pronounce it differently, including different language groups, this should be taken into account when performing a work on foreign languages. For example, the Italians - "A" from the depths of the throat, the British - deep, and among the Slavic peoples, the vowel "A" has a flat chest sound. The use of this phoneme in classes with beginners must be very careful.
"I, E" - stimulate the work of the larynx, cause a tighter and deeper closure of the vocal cords. Their formation is associated with a high type of breathing and the position of the larynx, they brighten the sounds and bring the vocal position closer. But these sounds require special attention in terms of sound rounding.
The vowel “I” should sound close to “Yu”, otherwise it acquires an unpleasant, piercing character. And then the sound would not be “narrow” Sveshnikov considered it necessary to combine it with the vowel “A” (I-A).
The vowel "E" should be formed as if from the articular structure "A".
The vowels "E, Yu, Ya, Yo" due to the sliding articular structure are easier to sing than pure vowels.
Thus, work on vowels in a choir is the quality of sound and consists in achieving a clear pronunciation in combination with a full-fledged singing sound.

Work on consonants
The condition for clear diction in the choir is an impeccable rhythmic ensemble. The pronunciation of consonants requires increased pronunciation activity.
The formation of consonants, as opposed to vowels. due to the appearance of an obstacle in the path of air flow in the speech tact. Consonants are divided into voiced, sonorous and deaf, depending on the degree of participation of the voice in their formation.
Following from the function of the vocal apparatus to the 2nd place after the vowels, we put sonorous sounds: “M, L, N, R”. They got this name because they can stretch, often stand on a par with vowels. These sounds achieve a high singing position, and a variety of timbre colors.
Further, the voiced consonants "B, G, C, F, Z, D" are formed with the participation of vocal folds and oral noises. With voiced consonants, as well as sonorants, they achieve a high singing position and a variety of timbre colors. The syllables "Zi" reach closeness, lightness, transparency of sound.
Deaf "P, K, F, S, T" are formed without the participation of the voice and consist of noise alone. These are not sounding sounds, but guides. An explosive character is characteristic, but the larynx does not function on deaf consonants, it is easy to avoid forced sounding when vocalizing vowels with preceding deaf consonants. At the initial stage, this serves to develop the clarity of the rhythmic pattern and creates conditions when the vowels acquire a more voluminous sound (“Ku”). It is believed that the consonant "P" well rounds the vowel "A".
Hissing "X, C, H, W, W" - consist of some noise.
A voiceless "F" is good to use in breathing exercises without sound.

Consonants in singing are pronounced short compared to vowels. Especially hissing and whistling "S, Sh" because they are well caught by the ear, they must be shortened, otherwise, when singing, it will create the impression of noise, whistle.
There is a rule for connecting and disconnecting consonants: if one word ends and another begins with the same, or approximately the same consonant sounds (d-t; b-p; v-f), then at a slow pace they need to be emphasized separated, and at a fast pace when such sounds fall on small durations, they need to be emphatically connected.

Working on rhythmic clarity
We begin the development of rhythmic instinct from the very first moment of the work of the choir. We actively count durations using the following counting methods:
- out loud in unison rhythmic pattern.
- tap (clap) the rhythm and at the same time read the rhythm of the song.
After this tuning, solfegge, and only then sing with words.
The rhythmic features of the ensemble are also caused general requirements to taking a breath, always at the right pace. When changing rates or during pauses, do not allow lengthening or shortening of the duration. An extraordinary role is played by the simultaneous entry of those who sing, taking breath, attacking and removing the sound.

In order to achieve expressiveness and accuracy of the rhythm, we use exercises for rhythmic fragmentation, which subsequently turns into internal pulsation, and gives timbre saturation. The crushing method, in our opinion, is the most effective and has been known for a long time.

Singing breath.
According to many choral figures, children should use chest-abdominal breathing (formation as in adults). We certainly control and check each student, as far as he understands how to take the breath correctly, be sure to show it on ourselves. Little singers should take air with their nose, without raising their shoulders, and with their mouths, with their arms completely lowered and free. With daily training, the child's body adapts. We consolidate these skills with a breathing exercise without sound:
A small breath - an arbitrary exhalation.
A small breath - a slow exhalation on the consonants "f" or "v" in a count of up to six, up to twelve.
Inhale with a count to chant at a slow pace.
Inhale briefly through your nose and exhale briefly through your mouth for a count of eight.
Classes usually begin with chanting, here we highlight 2 functions:
1) Warming up and tuning the vocal apparatus of singers to work.
2) The development of vocal and choral skills, the achievement of high-quality and beautiful sounding in works.
The most common shortcomings of singing in children, according to our observations, are the inability to form a sound, a clamped lower jaw (nasal sound, flat vowels), poor diction, short and noisy breathing.

Choir singing organizes and disciplines children and contributes to the formation of singing skills (breathing, sound production, sound science, correct pronunciation of vowels).
At the beginning, 10-15 minutes are allotted for singing, and it is better to sing while standing. The chanting exercise should be well thought out and given systematically. During chanting (albeit short-term), we give various exercises for sound leading, diction, and breathing. But these exercises should not change at each lesson, because the children will know what skill this exercise is given to develop, and with each lesson the quality of the chant performance will improve. Most often, we take the studied material for chanting (usually we take difficult places).

In order to set up and focus the children, to bring them into working condition, we start singing as if from a “setting”, we ask the children to sing in unison with their mouths closed. This exercise is sung evenly without jerks, on a uniform, continuous (chain) breathing, soft lips are not quite tightly closed. The beginning of the sound and its ending must be defined. In the future, this exercise can be sung with a weakening and strengthening of sonority.

Chanting can be sung on the syllables ma and da. This exercise will teach children to round and collect the sound, maintain the correct shape of the mouth when singing the vowel “A”, and also follow the active pronunciation of the letters “H, D” with elastic lips. It is very convenient for the syllables lu, le, because this combination is very natural and easy to reproduce. Here you need to monitor the pronunciation of the consonant "L", it will not be with a weak work of the language. And the vowels "Yu, E" are sung very close, elastic lips.

Song learning
This is the next stage in the work on vocal-choral skills.
If this is the first acquaintance with the song, then we preface the learning with a short story about the composer, about the poet, about what else they wrote; if the history of the creation of the song is known, then we introduce the guys to it.
Next comes the song. The attitude of the children to learning often depends on how it is carried out - their enthusiasm or indifference, lethargy. Therefore, we always use all our capabilities during the show, we prepare well in advance for it.

As a rule, we never write down the words of a song during choir lessons (the exception is foreign texts, which are difficult to remember and require additional study with a teacher of this language). This is not necessary, since with the method of phrase-by-phrase memorization of a song, with its numerous repetitions, words learn by themselves.

Repeated, prolonged memorization of the same place, as a rule, reduces the interest of children in the work. And here one must have a very precise sense of proportion, a sense of the time allotted for the repetition of one or another fragment of the work.
We try not to rush to learn all the verses, as the guys are very happy to sing an already familiar melody with new words than with well-known ones, so the learning process should be slowed down. In each new verse, you need to pay attention, first of all, to difficult places that did not turn out well enough when performing the previous verse.

We also attach great importance to the development of active articulation, expressive diction when singing. After the choir has learned the main melodies, you can proceed to the artistic decoration of the work as a whole.
Another option is possible: close interaction, a combination of solving technical problems and artistic finishing of the work.

After learning a new song, we repeat the songs already learned. And here it makes no sense to sing every song from beginning to end - it is better to perform some places separately in parts, then together to build an interval (chord) you can work on some particulars, enriching the work with new performing nuances. With such work on familiar material, he will never get bored.
At the end of the class, one or two songs are sung, ready to be played. A kind of "run" is arranged, the task of which is to activate the contact of the choir leader as a conductor with the performers. Here, the language of conductor's gestures, understandable to the choristers, is practiced.

During the moments of "runs" it is good to use a tape recorder - for recording and subsequent listening. This technique gives an amazing effect. When children sing in the choir, it seems to them that everything is fine, there is nothing more to work on. After listening to the recording, the children, together with the leader, note the shortcomings of the performance and try to eliminate them during the subsequent recording. This technique is not used by us in every lesson, because otherwise the novelty is lost and interest in it disappears.

We finish our classes musically - the guys, standing, perform "Goodbye", which is sung in a major triad.

According to the hypothesis of our study, the development of vocal and choral skills of choral singing in music lessons is more effective when musical education is carried out systematically, in close connection between the teacher and students, against the background of the formation of a general musical culture of the child at primary school age and, finally, taking into account age and personality traits of the child. This is proved by the system of methods and techniques used by us for the formation and development of basic vocal and choral skills in children of primary school age. By the end of the year, children steadily master the correct singing breathing, develop correct diction, learn to sing in unison without disturbing the general pattern of the choir singing, that is, they become a team, a single singing organism, with which you can work further, learning new more complex works.
In conclusion, I can say that without interest in your profession and love for it, it is very difficult to succeed. And only striving for the pinnacle of your success will help you overcome the thorny path from beginning to end!!!
2016


In the practice of working with the choir, it is common to divide rehearsals into two stages:

1. technical development of the work and its artistic comprehension;

2. disclosure of the inner content, emotional and figurative essence.

In turn, depending on the form and content of the work, choral rehearsals can be divided into two groups:

1. consolidated (general), ensemble, group rehearsals by parts;

2. Introductory (introductory), working, final and corrective rehearsals.

Stages of replication work:

- introductory ( obtaining the first information about a new composition, the creative, performing intention of the conductor and mastering the musical text)

-singing(working stage). The main task is to achieve performing freedom, meaningfulness and expressiveness of the singing of each member of the team. tricks , used at this stage: singing with a closed mouth, singing in a syllable, "reading".

- performing ( the ability of choir singers to give integrity, completeness and persuasiveness to the process of sound materialization of a musical text). The main form of work at this stage is a summary rehearsal. .

Writing methods:

1. Singing in slow motion. The expediency of this technique lies in the fact that a slow tempo gives singers more time to listen to this or that sound, to control and analyze it) .

2. Stops on sounds or chords. The prerequisite for this technique is the same as when singing in slow motion. However, due to the fact that it makes it possible to focus on a separate intonation, chord, its effectiveness is higher. .

3. Rhythmic crushing. This is a method of conditional rhythmic fragmentation of large durations into smaller ones, which leads to the sensation of constant rhythmic pulsation among the choir artists. An effective technique for overcoming such difficulties is to pronounce the literary text in one sound.

4. Use of auxiliary material. When working on technically complex places, it is useful to turn to exercises built both on the material of the piece being studied and not related to it.

5. Relationship between artistic and technical elements in choral performance. The most correct and effective will be the method of work, in which the conductor, learning a specific choral part, gradually brings it closer to a character close to the composer's intention.

Antimethod:

- “coaching” (multiple repetition of musical material without a specific goal) does not develop the aesthetic thinking of singers.

Conducting techniques when working on an essay:

1. work gesture(clocking, showing intros and withdrawals, showing pitch, gestures that clearly convey the rhythmic and intonational structure of the melody);

2. figurative gestures(gestures that convey certain features of the choral sound: the nature of sound science, climax, gestures that convey the musical and expressive features of the melody, etc.)

Task number 6.

Make a reflection of your own activities (after each of the 6 rehearsals orally to the head of the practice).

Correlate the set goals with the results of the activity; evaluate the methods of work you have chosen and used and their effectiveness; name the reasons for possible failures in the work done.

Task number 7.

Conduct this composition in concert conditions, using the appropriate conductor's techniques.

Under the conditions of a concert performance, conducting skills are of particular importance - the only means of creative communication between the conductor and the performers on stage. Consequently, the conductor is required to have an appropriate level of mastery of the technique of expressive gestures that contribute to the transfer of the figurative sphere of the composition.

Bibliography

1. Zhivov V. L. Choral performance: Theory and practice: Tutorial for stud. institutions of higher education. - M.: VLADOS, 2003. - 272 p.

2. Kozyreva G.G., Yakobson K.A. Choir Dictionary. Editor Elovskaya N.A. - Krasnoyarsk, 2009-105s.

concert and performing activities,

Organization of creative meetings with various amateur and professional groups,

Organization and implementation of tours of the choir,

Business contacts.

The task of the head of the choir is not only to teach its members the correct singing and choral skills, the development of musicality, but also to educate them in good artistic taste, high spirituality, and love for choral art. This task is complicated by the fact that the leader has to work with people of different ages, different educational and cultural levels.

Such a wide and varied range of activities of the leader of an amateur choir requires from him not only knowledge, skills and abilities in the field of folk choral art, but also broad general erudition and pedagogical education. He must be a versatile prepared, creatively active teacher. This requires great knowledge in the field of literature, theater, fine arts, social sciences, and the basics of psychology. The head of the choir must have a developed intellect and willpower. Working with an amateur choir requires a great capacity for work, endurance and good health, as well as optimism and, of course, a sense of humor from the leader. All this knowledge, skills, abilities, and character traits are, in essence, professional qualities leader of an amateur choir.

Features of the organization of an amateur choir

Amateur choirs are created at various institutions: universities, houses and palaces of culture, cultural centers and associations, etc.

As mentioned above, organizational work is closely related to pedagogical work and is carried out throughout the entire activity of the team.

To create an amateur choir, certain conditions are needed: material and technical base, a rehearsal room, musical instruments, furniture necessary for the work of the choir, as well as funds for the remuneration of the head of the choir and his assistants, the purchase of concert costumes, a music library, a music library, etc. .

It is important that the rehearsal room is suitable for the choir to work in it. For choir rehearsals, it is desirable to have several isolated rooms equipped with musical instruments. This will allow the choir to rehearse in parts (groups). Practice shows that such conditions for working with the choir are very rare. At least two spacious rooms should be allocated for choir practice. It is essential that each room has good acoustics, ventilation and lighting. The acoustic conditions of rehearsal rooms require special attention. Rooms with poor acoustics (complete absorption of sound or its reflection with an "echo" effect) are completely unsuitable for practice. Usually, corners are draped in a room to improve acoustics.

The creation and organization of a choir group is a complex process that requires great interest and assistance from the leadership of the organization in which the group is created. In the process of organizing a choir, various means of advertising, agitation and propaganda should be used: announcements about the creation of a choir on local radio and in the press, etc.

PEDAGOGICAL FEATURES OF THE FORMATION OF THE SINGING COMPOSITION

The most important stage in the formation of the choir is listening to its members. The results of listening must be strictly and systematically recorded in a specially established journal. In it, in addition to the vocal and musical data of those listening, it is necessary to fix the general and special education, place of work or study, home address (telephone, year of birth, marital status).

When listening, one should determine the quality of the voice (type, range), musical ear, sense of rhythm, musical memory, and also find out musical training: knowledge of musical notation, possession of any musical instrument, experience of singing in a choir. Exist various methods listening to those entering the choir. As a rule, the applicant is invited to perform a song. After that, the range of the voice, the type of voice are determined. The quality of musical ear is determined in simple exercises. For example, it is proposed to repeat various chants after the instrument or voice within the middle segment of the voice range of the incoming voice, repeat with the voice a simple construction of three to five sounds played on the instrument. If the applicant has a musical education or experience in singing in a choir, the exercises can be somewhat complicated. For example, an applicant is asked to identify simple intervals by ear in a melodic and then in a harmonic form, to construct different intervals with a voice from a given sound. It is advisable to include simple chromatic constructions in listening.

The sense of rhythm is tested by repeating a simple rhythmic pattern.

If those who came to audition for the choir have no singing experience and no musical training, then it is advisable to audition in several stages. At the first stage, you can limit yourself to only a general acquaintance with the applicant, suggesting that he start attending choir classes, and after three or four weeks, conduct a more thorough acquaintance with vocal and musical data, and only after that finally express an opinion about his suitability for participation in the choir. Quite often shyness, timidity of the person who came to the audition hinder to find out his vocal and musical abilities. In this case, as an exception, you can try to carry out this work in the process of rehearsing the choir.

It is not advisable to form the composition of the choir without any verification of the vocal and musical data entering the choir.

Care should be taken to ensure that new members of the choir do not reduce the level of performance of the choir. For this purpose, it is desirable to have preparatory group choir.


Federal State Educational Institution
Higher and professional education
"Chelyabinsk State Academy of Culture and Arts"

Musical - Pedagogical Faculty
Department of REDO

Course work
On this topic:
Forms and methods of conducting classes in an instrumental and creative team

Completed by: student of group 421
Podshivalov A.A.
Received by: Associate Professor of the Department of REDO
Panov D.P.

Chelyabinsk 2012
Content

Introduction

Chapter 1. Psychological characteristics and qualities of a conductor………..7

1.1 Professional qualities of the creative director (conductor)……..7
1.2 Processes of communication between a conductor and a musical group………………..12

Chapter 2. Forms and methods of conducting classes………………………….16

2.1 Methodology for conducting rehearsals……………………………………………………………16
2.2 Peculiarities of rehearsal work in a musical group .............................17
2.3 Starting a rehearsal of a new piece……………………………………18
2.4 Detailed study of individual batches .......................................................... .19
2.5 Mastering the work by groups……………………………………………21

Conclusion……………………………………………………………………………24

References………………………………………………………………….26

Introduction

The relevance of the topic is due to the need for a more complete study of the content and specifics of the professional activity of a conductor in an instrumental creative team. What forms, methods, it is better to use, where, when and how to apply in practice.
At present, conducting is increasingly becoming a profession that musicians of other profiles cannot engage in without appropriate professional training, as was often practiced in the past. Professional performers - orchestra musicians - strive to work with competent conductors. Therefore, already at the beginning of his career, a modern conductor must have deep knowledge, the ability to interpret works in an interesting and meaningful way. Also, the head of a professional team must have a wide range of important professional qualities, which include, in addition to music, but also pedagogical, psychological, organizational. Equally important for a conductor is a good, high-quality command of manual technique.
From the very beginning, the conducting profession seemed to be a mysterious area of ​​musical performance, both for people professionally engaged in conducting activities and for a wide range of music lovers. Despite the existing theoretical developments in the problems of conducting art, conducting is still for many, according to L. Stokowski, “one of the most vague and misunderstood areas of musical art”
Even A.N. Rimsky-Korsakov called conducting a “dark matter”, and he was not far from the truth. At that time, science was still unable to solve the emerging theoretical and practical problems of the conductor's profession, in addition, practice was significantly ahead of theory, without receiving sufficient scientific justification. Conductor Y.Simonov notes: “It is common knowledge that conducting is a complex psychophysical human activity. At the same time, it is theoretically the least studied and substantiated type of musical performance. It should be noted that the professional activities of many outstanding conductors of the past still do not have a psychological generalization.
Each conductor found his own way of managing the team, relying on his vision of the goals and objectives of the conductor's activity, on his own ideas, intuition. The study of the activities of conductors mainly consisted in determining the necessary knowledge; skills: that is, it followed the path of study - the subject and methodological preparation of future conductors.
At present, thanks to research in the field of social psychology, labor psychology, communication psychology, as well as the psychology of creativity, musical psychology L. Ginzburg "On the technique of conducting" activities, psychology of creativity, musical psychology, it became possible (based on the results of scientific research) explain the structure of functioning of the psychological mechanisms underlying the professional activity of a conductor.
The works of A.L. Bochkarev, A.L. Gotsdiner, G.L. Erzhemsky, V.I. Petrushin, V.G. Razhnikov are devoted to the psychological analysis of conducting activity and consideration of the structure of conductor abilities. The question of the professionally important qualities of a conductor in the context of his professional activity remains open today.
Thus, incomplete possession of theoretical and practical knowledge, poor mastery of manual techniques, lack of ability to understand the texture of a piece, leads modern leaders (conductors) of musical and creative groups to psychological restraint. That is, when going to the musicians for rehearsals, the leader (conductor) most often does not know where to start, from here he becomes psychologically constrained, unbalanced (maybe: shouting, swearing, demanding from the musicians what he himself cannot explain).

Purpose: to identify a set of professionally important qualities of a conductor (leader) of a musical and creative group, to determine their structure and significance in the process of selecting forms and methods for conducting classes in a musical and creative group.

Object of study: the formation of the professional qualities of an orchestra conductor, expressed in the selection of forms and methods of conducting classes.

Subject of research: musical qualities of a conductor.

Tasks:
1. Consider and analyze works on conducting, research on musical psychology concerning the content and structure of the conductor's activity.
2. Identify and consider the main components of the professionally important qualities of an orchestra conductor.
3. Define the key concepts in the formation of the professional qualities of a conductor.
4. Determine the specific features of the conductor's profession.
5. Consider the forms and methods of conducting classes in musical and creative groups.
In my opinion, on this topic, we can recommend the following works for musicians to study:
Educational - methodical manual "Questions of the methodology of working with a pop instrumental ensemble" authors Khabibulin R.G., Panov D.P. Chelyabinsk 2011
In this work, the psychological and pedagogical characteristics of the ensemble members are fully considered, the pop ensemble is shown as an object of musical and pedagogical activity, the material from the history and development of instrumental ensembles is also well disclosed.
Article by Buyanova N.V. "The role of the conductor in the artistic and creative process"
In this article, the author reveals the special methods of communication between the musician leader and the performers, the patterns of the formation of a positive microclimate in the creative team. The article also emphasizes the connection between the conductor's ability to organize the creative process and his personal qualities. The essence of the creative team, communication, professional competence.

Chapter 1. Psychological features and qualities of a conductor.

1.1 Professional qualities of a creative director (conductor).

Professionally necessary qualities - individual-personal and socio-psychological characteristics of a person, in a complex ensuring the success of his work.
Conducting performance is a complex complex of various types of musical activity, including actions that occur sequentially or simultaneously and are aimed at different goals. Each of them is performed with more or less effort, is caused and motivated by various motives, accompanied by appropriate emotions. Numerous functions performed by the conductor at the time of directing the performance are interrelated, and sometimes act in contradictory, and even conflicting relationships. None of the performing arts knows such originality.
Conductor (from French diriger - to manage, direct, lead) - the head of the learning and performance of ensemble (orchestral, choral, opera, ballet) music, who owns the artistic interpretation of the work, carried out under his control by the entire ensemble of performers.
The conductor ensures ensemble harmony and technical perfection of the performance, and also seeks to convey to the musicians he leads his artistic intentions, to reveal his interpretation of the composer's creative intention, his understanding of the content and stylistic features of this work in the process of performance. The conductor's performance plan is based on a thorough study and the most accurate, careful reproduction of the text of the author's score.
A conductor is not only a leader, organizer, interpreter, but also a teacher.
And the teacher and the conductor have a lot in common: benevolence, tact, the ability to "ignite" people and lead them. “There is no need to prove the indisputable position that the leader of a musical group is essentially his mentor and teacher. His duty is to educate the team, improve its performance culture, the ability to understand and feel the figurative and emotional content of music,” wrote the well-known teacher, conductor, professor at the Leningrad Conservatory Ilya Aleksandrovich Musin.
A musician engaged in conducting must understand that conducting is not an end in itself, but a means of communication between the conductor and the musicians of the orchestra, a way of transmitting information, that is, the musical language with which the conductor speaks with the musical group (orchestra).
What is "conducting"?
Conducting (from German dirigieren, French diriger - to direct, manage, lead; English conducting) is one of the most difficult types of musical performing arts.
Conducting is the management of a group of musicians (orchestra, choir, ensemble, opera or ballet troupe, etc.) in the process of learning and public performance of a musical work by them. Conducted by the conductor.
The conductor must have a whole range of different abilities. Abilities psychologists call such personality traits that provide a person with the successful performance of any activity, subdividing them into general and special abilities. Abilities are the result of development. They are formed and reach one level or another, subject to the active involvement of a person in a strictly defined activity.
A musical director (conductor) must have such musical abilities as: musicality, ear for music, rhythm, musical memory. Performing abilities are also important - playing an instrument, manual technique. It is necessary to have three basic musical abilities in the structure of musicality: modal feeling, the ability to arbitrarily use auditory representations that reflect sound-altitude movement, and musical-rhythmic feeling.
These abilities form the core of musicality. Musicality is understood by most researchers as a kind of combination of abilities and emotional aspects of a person, manifested in musical activity. The significance of musicality is great not only in aesthetic and moral education, but also in the development of a person's psychological culture.
A musical person should be called a person who feels the beauty of music, its expressiveness, is able to perceive a certain artistic content in the sounds of a work, and if he is a performer, then reproduce this content. Musicality presupposes a subtle differentiated perception of music, but the ability to distinguish sounds well does not yet mean that this is a musical perception, and that one who possesses it is musical.
It is known that a conductor must have an outstanding ear for music. Musical ear is a complex concept and includes a number of components, the most important of which are pitch, modal (melodic and harmonic), timbre and dynamic ear. There is also absolute and relative ear for music. The presence of absolute pitch (passive or active) often indicates a general musical talent. The better the conductor's ear, the more complete his command of the orchestra. It is useful for a conductor to have absolute pitch, but it is not necessary. But he needs to have good relative hearing, which makes it possible to distinguish between the ratios of sounds in height, taken simultaneously and sequentially. Even an established musician must constantly continue to train his ear.
The most important working tool for a conductor is a highly developed inner ear.
Internal hearing is understood as the ability of a conductor to imagine the sound of both individual tones and chords, and all of them in the process of reading the score. Reading a score without an instrument, like reading a book without saying the words aloud, is a matter of training and must be mastered by every conductor.
The basis of communication, uniting the activities of the conductor and the orchestra into a single system, is the interpenetrating attention of the leader and the team. The conductor must be able to establish and constantly maintain contact with each of the members of the orchestra and with the entire team as a whole.
The development of musical abilities goes hand in hand with the development of auditory attention.
Attention is a psychological state of a person that characterizes the intensity of his cognitive activity. The world around us incessantly affects a person with many of its aspects, but only a part of what is happening around is in the mind. This shows the selective nature of our knowledge. At the same time, we try to focus on something important to us, peer, listen, pay attention.
Great scientists, musicians, figures of various arts paid great attention to the study: K. Stanislavsky, L. Kogan, I. Hoffman, B. Teplov and others.
The conductor of the orchestra most often uses "controlling attention" (external), which is aimed at solving organizational problems: exercising control and regulation of the actions of the orchestra. At the same time, internal contacts cover the intellectual sphere associated with the creative process.
Internal contact is a way to comprehend the inner world of a musician, penetration into his creative "I". It should be noted that internal contacts have a dual focus of hearing: the first is to control the action of the orchestra, and the second is to contact the conductor with his internal sound of the orchestra, that is, his idea of ​​how the orchestra should sound.
According to many prominent conductors, such as Walter, Weingartner, the essence of communication between a conductor and musicians lies in the mutual mental charging of each other, the emergence of a special "spiritual current" between people.
Of all the skills that a conductor needs for his work, auditory attention should be put in the first place. Auditory attention is necessary for every musician-performer. While playing the instrument, the musician listens attentively to his performance, comparing it with the ideas formed in his mind.
In the activity of a conductor, both types of auditory attention - performing and pedagogical - are combined in an organic unity. Listening to the orchestra, the conductor solves problems similar to the tasks of each teacher - instrumentalist who works with his student, he must achieve the most perfect embodiment of the piece being performed.
No less important for the successful activity of a conductor is a developed musical memory. It is important for a conductor to develop auditory memory, which is the basis for successful work in any field of musical art; logical - associated with understanding the content of the work, the patterns of development of the composer's thoughts; motor - associated with the manual technique of the conductor; visual - in the study and memorization of the score.
Finally, the conductor must have a sense of imagination. Imagination is a magical gift, it gives rise to images, discoveries. Creative imagination is the ability to help us move from concept to implementation. The conductor, already in the process of studying the score, has performance problems, problems of artistic interpretation, which means that one cannot do without artistic imagination, without fantasy. In the creative process, fantasy, artistic imagination is everything. It is necessary to develop and train creative imagination, intuition.
Everything starts with talent. Talent is the ability to work (there is no genius without work), it is an amazing insight into the essence of the work. Talent needs to be treated with care.
The talent of a conductor (genuine) is an absolute rarity. This talent presupposes the ability to embrace the musical phenomenon in its all-encompassing meaning - historical, social, folk - national. And this is not given to many.

1.2 Processes of communication between a conductor and a musical group

During conducting, many conductors note the emergence of “spiritual currents” between them and the musicians, through which the necessary connection is established. They talk about the hypnotic influence of the conductor on the consciousness of the musicians, who, as if spellbound, follow all the instructions of the conductor's gesture. Many conductors place great importance on eye contact. “The eyes are omnipotent,” said Y. Ormandy. “Inspiring, asking, persuading eyes are a means of constant communication between the leader of the orchestra and the musicians, a mirror that reflects every thought and emotion of the conductor.”
Attempts to teach conducting to blind musicians have not been successful. The lack of live facial expressions and eye contact negatively affected the result.
A very important problem is the ability to make critical remarks to your musicians about their performance. Many of them perceive such remarks painfully, since several remarks by the conductor to the same musician about how best to play this or that phrase can be perceived by him as damage to his professional prestige. The conductor can be of great help here with the recommendations from Dale Carnegie's book How to Win Friends and Influence People. In the section on how to influence people without offending them and without causing a feeling of resentment, D. Carnegie writes that for this you need:
start with praise and sincere recognition of the interlocutor's merits;
point out errors not directly, but indirectly;
First, talk about your own mistakes, and then criticize your interlocutor;
ask the interlocutor questions, instead of ordering him something;
Expressing approval to people about their slightest success and celebrating their every success;
· Create a good reputation for people, which they will try to maintain.
The conductor's ability to communicate is one of the component facets of his talent.
From the point of view of transactional theory, in order to maintain good relations with musicians, the conductor must be able to alternate in three positions - Parent, Adult and Child. Being in the position of the Parent and having all the powers of authority, the conductor can order certain actions to be performed or not to be performed, for example, to impose a fine for being late to rehearsals or to give a reprimand for violations of the terms of the contract. Being in the position of an Adult, he discusses the problems of interpreting a piece of music or a case from the current life of the orchestra. Being in the position of the Child, he can joke with his musicians, for example: tell them funny story or an anecdote.
The ability to take the right position depending on the current situation contributes to the formation and maintenance of group unity of the team.
The main and most developed field of activity and joint communication between the conductor and the choir is the rehearsal. That is why the orchestra and the conductor always need it. The orchestra needs to get to know and assimilate the conductor's gestures, to know his interpretation of the piece of music, the tempo. The conductor needs to know the performance capabilities of soloists, individual groups and the orchestra as a whole, its flexibility and quick response to the conductor's
gesture. They should “work together” within two or three rehearsals. The choir for the conductor is a “live instrument” that he cannot use in independent preparatory work, therefore, the less experience a conductor has, the more scarce rehearsal time is for him. At the same time, setting the number of rehearsals, organizing the rehearsal itself and its productivity is a serious test of the conductor's maturity and his psychological qualities.
A good knowledge of the score and an excellent command of conducting technique increase the productivity of rehearsals, however, this is not the only condition for establishing mutual understanding between the conductor and the choir. Here, the psychological conditions of communication play a significant and sometimes decisive role.
Thus, of all performing professions, the conductor's profession is the most difficult and responsible.
Conducting activity causes the most contradictory opinions among listeners, and sometimes even among professional musicians. From the fact that the same work by different conductors, in the same orchestra sounds completely different, listeners, and sometimes even musicians, conclude that the art of conducting is something mystical, inexplicable, a kind of epiphenomenon. This impression is further enhanced after meeting with an outstanding conductor who achieves exceptional creative results. But more "sober" musicians do not see anything mystical in this. In such cases, they rightly point out the outstanding musical and creative merits of the conductor, his ability to rationally conduct rehearsals, his great creative imagination and high culture, which help him captivate the orchestra with his interpretation, his understanding of even overplayed works.

Chapter 2. Forms and methods of conducting rehearsals.

2.1 Methodology for conducting rehearsals

The main form of collective studies in the educational work of musical and creative groups (ensembles) are rehearsals.
Rehearsal - preparatory, trial performance of a piece of music.
In the practice of work of musical and creative groups, there are four main types of rehearsals. Each of which has its own tasks and specific features.

Types of rehearsals

Corrective rehearsal is carried out in order to clarify the nature of the arrangement of the piece being studied, its compliance with its content, the performing intention, as well as to identify shortcomings and determine ways to eliminate them. It is held in groups with a sufficiently high level of musical training, in cases where the leader is in doubt about the instrumentation of a play or song.
Ordinary, or working, rehearsal is carried out to study a particular work, prepare it for concert performance. Depending on the complexity of the play, the leader determines the number of ordinary rehearsals and draws up a rehearsal plan for each of them, indicating the tasks to be solved. Such rehearsals are held with the full composition of the orchestra (ensemble), in groups and individually. The purpose of this rehearsal is to work out the parts in detail.
Run-through rehearsals are carried out to solve individual problems related to improving the quality of performance of the entire work, establishing the correct ratio of tempos, dynamics, etc., as well as to maintain the proper artistic level of performance of finished works.
A general rehearsal is carried out to determine the readiness of the piece being studied for concert performance, to eliminate small errors. It is a kind of result of ordinary rehearsals, so it should be appointed when the work has been worked out in detail and is ready for performance at a concert.

2.2 Features of rehearsal work in a musical group

The process of rehearsal work with a musical and creative team consists of solving many performing and educational tasks. The main task is the musical, aesthetic and creative development of musicians in the process of working on a piece. Here it is possible to single out and emphasize the educational emphasis in organizing rehearsals in instrumental and creative groups (ensembles), since it is in these groups that there are often negative moments, pedagogical miscalculations in the methodology of conducting classes with team members. Many leaders blindly copy the activities of professional orchestras and ensembles and mechanically transfer the general methodological methods of working with a professional musical group to small ensembles, without taking into account their specifics. Of course, by its nature, the activity of a member of the circle is close to the activity of a professional musician (preparing a work for its performance in front of the audience). It is built on the same principles and takes place in the same sequence as the creative work of professional musicians.
The peculiarity of the organization of the rehearsal process in instrumental and creative groups (ensembles) is that:
Firstly, work on a piece of music is subject to educational tasks, proceeds at different levels and covers a much longer period of time for its development.
Secondly, for a professional, the result of his activity - performance - acts as a means of aesthetic influence on the listener, and in the work of an amateur performer, both preparation and performance are important primarily as a means of aesthetic development and the formation of the personality of the participant himself.
Therefore, blind copying of the activities of professional groups causes some damage to the organization of the educational process in musical and creative groups (ensembles).
The leader must critically consider the positive that has been accumulated in the practical work of professional performers, and creatively apply it, taking into account the capabilities of his team.
The peculiarities of the methods of the rehearsal process in musical and creative groups (ensembles) are determined by the level of professional training of the participants, the specific conditions of the activity of an amateur group.
Most importantly, certain tasks facing the team.
Depending on the level of performing skills of the team members, the leader establishes a number of stages of the rehearsal process. Each of them has its own characteristics and tasks.

2.3 Start rehearsing a new piece

Work on a new work begins with the acquaintance of the participants of the musical and creative team (ensemble) with the musical material. If the team is a beginner, then the leader introduces the participants to the work in his own performance or includes audio or video, recording. Tells about the author, character and content of the play. Draws the attention of musicians to the peculiarities of the musical language, the style of the work. As well as dynamic shades, rhythm, strokes, structure of the work, etc.
If the team is sufficiently prepared, then the leader briefly outlines the necessary information about the author, the content of the work, characterizes its features and sets tasks for the participants, pointing out to the musicians the performing difficulties that they have to overcome. Then, playing the piece with the ensemble or orchestra in full, without stopping, so that the members of the team get a general idea of ​​it, he begins to solve performance problems together with them, connecting everyone to the search for expressive means.
It should be noted interesting experience some leaders to organize familiarization with piece of music aimed at activating the musical and cognitive activity of amateur performances. This method can be used in groups with known performing training. The leader allocates some time for individual viewing and preliminary mastering of their parts by the musicians, after which the work is played in full and, if possible, without stops. Then he begins a discussion, during which the participants independently determine the content of the work, the nature of the themes, developments, texture features, etc., and outline an action plan for its development. The manager directs this work, if necessary, corrects it.

2.4 Detailed study of individual batches

A detailed study of a work begins with an individual study by each musician of his part. At the rehearsal, individual learning of the part is carried out under the guidance of the conductor. More prepared participants can be involved in this work. The leader highlights difficult places, refines the strokes and instructs them to work out the parts with the rest of the members of the musical and creative team (ensemble).
At this stage, the main attention should be paid to the correct reading of the musical text, the purity of intonation, the observance of strokes and dynamic shades. As a rule, the part is learned at a slow pace so that the performer can mark places that are difficult in terms of performance (complex rhythmic pattern, passage, uncomfortable fingering, etc.). Then work them out in detail, gradually eliminating the shortcomings of your performance.
The leader should not allow mechanical playback of pas
etc.................

Rehearsal is a process of gradual, more and more perfect expression of the artistic idea of ​​a work, accompanied by the enrichment of creative experience and an increase in the performing level of singers.

In rehearsal work, the activity of the choirmaster is multifunctional. He:

A performing musician who realizes his performing intentions in live sound (performing function);

A teacher who instills in singers the vocal and choral skills necessary for the successful solution of performing tasks (pedagogical function);

Organizer and leader of the rehearsal process (managerial function);

These functions are interrelated and closely intertwined. The leader of them is the performer. It correlates with the other two according to the “end-means” type (performance is the goal of rehearsal work, training of singers and a clear organization of the rehearsal process are the necessary means to achieve the goal).

Various components of the profession of a choirmaster are taught in classes in individual disciplines (conducting, voice production, piano, choral studies, musical and theoretical subjects, etc.). However, the ability to work with a choir is something other than the simple sum of the listed knowledge and skills. You can be good at conducting, singing, playing, knowing the technique, but at the same time it is bad (ineffective) to work with the choir.

The ability to rehearse effectively to some extent is based on the synthesis of a performing gift with pedagogical and organizational abilities and is formed mainly in the process of practical communication with a team of performers.

  1. Rehearsal work planning

In order to avoid gravity, confusion, dispersion, each rehearsal is recommended to be carefully thought out and planned. The role of planning increases even more when it comes to a whole series of rehearsals for the preparation of a concert program. The presence of a clearly developed program of action helps in this case not to lose perspectives in work, to pay due attention to the main and secondary, to more rationally manage the available stock of rehearsal time. Distinguish planning perspective and rehearsal.

Long-term planning solves strategic problems. In the course of it, the choirmaster must:

Determine the amount of rehearsal time needed to prepare the choral program (total number of hours, concert date);

Outline the types of rehearsals depending on the stage of work (introductory, adjustable, consolidated, run-throughs, general rehearsal, testing the hall, etc.);

Decide how many hours will be allocated for the preparation of each of the compositions of the program (adequate to the level of complexity of the score);

Determine which compositions will be rehearsed in each lesson;

Outline a strategy for the technical and figurative-emotional development of singers, i.e. a plan of work on the performing skills required in the preparation of this program;

Pre-rehearsal planning is carried out by the choirmaster before each rehearsal based on a long-term plan. Its main points:

Outline the episodes of the score to be worked out, the sequence of work on them and the amount of rehearsal time for each of them;

Determine the goal of working on each episode at this rehearsal (the focus is to achieve pure intonation, expressive pronunciation, ensemble in the party, etc.)

Select the appropriate methods of work to achieve the goal;

Try to predict the technical and figurative-emotional difficulties that the singers will encounter in the planned episodes, and find ways to overcome them;

Think over the issues of organizing rehearsal work and instrumentation of pedagogical influence on the team (showing the quality of performance, figurative and emotional characteristics of music, the form of presenting artistic, technical, disciplinary requirements for singers, assessing the quality of performance, etc.).

For effective implementation of planning, the conductor needs to:

By the time of planning, have well-defined performing intentions, know in detail what artistic result will be achieved in work on this work;

To imagine by what means the goal should be achieved;

It is good to know the performance capabilities of this choir;

It is desirable to have experience in rehearsal planning.

The rehearsal plan can be detailed to varying degrees. It may be enough for an experienced choirmaster to think over only the main milestones, while he can improvise the details. An inexperienced leader should know that successful improvisation is not groundless, it is born, as a rule, on the foundation of long practice and preliminary painstaking work. The way to it lies through detailed planning of rehearsals.

The outlined plan in the course of work may turn out to be more or less impossible to implement. However, this should not be a reason for not planning rehearsals. The value of planning is that the choirmaster carefully thinks through the work ahead, and this directly or indirectly affects the effectiveness of the rehearsal process.

It is useful to analyze each rehearsal in order to improve rehearsal skills and planning experience. Based on the analysis of the rehearsal by the choirmaster, if necessary, adjustments can be made both to the long-term plan and to the planning of the next rehearsal.