Annotations to vocal cholar scorches. Forms and methods for analyzing choral works How to arrange and perform an analysis of the vocal work
The work of the "Moon River" is written for the female choir in the composition of the soprano (1st and 2nd) and alto.
Ranges of choral parties
Soprano 1 Soprano 2 Alta Total Range
As already written above, this is a work for the female choir. However, his execution can be entrusted with a school chorus.
The ranges of parties are convenient, which will make it possible to reveal all the artistic and performing opportunities for female votes.
The first soprano sounds mainly in the high and medium register. It is convenient for them.
But in some places, the testicular is not very convenient.
Here the party soprano sings in a low register for it. However, the composer helps her: on average and low registers there is a nuance p., and in climax in high register f.
At the initial stage of learning choral parties, work is important to melodic. Without a solid absorption of this system, work is impossible on the harmonic system.
Intonation difficulties in all parties are the same and work on them is carried out in a thoroughly. Complexity represent:
Singing jumps at clean intervals (Part 4, Ch.5).
These jumps need to sing steadily, while maintaining the vocal position. Do not interrupt movements, observe sound balance, sing on a support and good breathing.
Singing wide jumps:
In these cases, the lower sound should already sound in the position of the top and take away from the bottom, and on top, on active breathing (even at the nuance [ p.]), and vice versa.
Singing on one sound:
In these examples, all sounds should be singing in one position, some syllables should flow to others smoothly. Everything is on active breath, not to lower the air, so as not to undress the sound. Especially every tone sing in a high position.
Singing lengthy durations:
Such notes in combination with a slow pace can provoke a decrease in intonation. To do this, in the process of learning the work of the product, the choirmaster needs to work out the skill of proper breathing. You can use additional exercises to train an elastic, level and long-term exhalation, giving up long-notes of minor major skews.
The singing of large intervals:
In large intervals, the stable execution of the main tone and one-sided expansion of the interval, i.e. In the upstream intervals, it is necessary to strive for an increase in sound, and in descending to a decrease.
Singing small intervals:
All small intervals require the stability of the execution of the main tone and one-sided narrowing of the interval, i.e. In the ascending movement, the direction to a decrease in sound, in the downward-_, its increase.
Singing chromatisms:
For accurate execution of chromatisms, you can use chatenesses in halftones.
Votes are close. There is a lot of long notes in the work. It could create a feeling of emptiness from the listener if the choir sounded accepted. But the sound of the piano fills the resulting space, saturating his harmony and thereby helping the chorus to keep these long sounds.
Each party is loaded in the same way, since the work is outlined by chords. The leading part of the U1th soprano, and therefore it should sound brighter than the others. The alta creates a harmoniously stable support, the foundation of all votes. The second soprano give harmony, and therefore should not be lagging behind the tempering from extreme voices.
The work is used mainly in pofacious breathing. But in some places the chain is used. When working on chain breathing, it is necessary to strive to ensure that the alternate entry of singers did not destroy the single line of development of a melodic topic. To do this, each breathing after changing must begin to sing a nuance of quieter of general telephones, gradually dynamically merging with the sound of all the choir in general.
When working on the rhythm, it is necessary to avoid, on the one hand, the dead staticness of the performance, on the other hand, excessive dynamic bloating. Long notes should freely "breathe" filled with live ripples. When singing short durations (eighth), it is necessary to strive for unhurried, elastic sick. The sound of these notes should not be sharp and screaming.
Work on the harmonic system is carried out after working with each party separately, at a slow pace, consistently connecting all the sounds of the chord. When singing in this pace, you need to listen to each chord. It is useful in working on the system to use the techniques for the execution of choral parties with a closed mouth, which allows to activate the musical hearing of singers and send it to an analysis of the quality of execution.
Also, some difficulty represents the singing of parties in unison. Many factors affect the quality of unused. First of all, this is the heterogeneity of the singed timbres. Serious problems in creating a pure unison occur in the case when the singers choir sing the sound of different density, "wide" and "narrow", "flying" and "non-use". Therefore, it is advisable to achieve unity in sound formation, a common vocal manner.
Analyzing the main vocal choral difficulties of the work, should be parted on the development of deep, calm breathing (breast), for each singer and chain breathing for the choir. This will help special exercises at the preparatory stage, immediately before work on the work:
1) The execution of inhalation and exhalation on the hand of the conductor, feeling the movement of the lower edges, controlled by the ongoing hands lying on them.
2) singing of individual sounds of major sounds with whole durations, with a gradual movement of them up and down, for the development of economical skills, smooth exhalation.
The second element of vocal choral technology is the attack of sound. This product uses mainly a soft attack.
Dynamic ensemble.
The purpose of this ensemble is the achievement of unity, votes in force. Each participant of the choir needs to learn the ability to listen to the sound of his party, having highlighting her place in the sound of the whole team as a whole, the ability to adjust his voice to general sounding.
The author uses contrasting shades. Therefore, the participants of the choir should be able to quickly rebuild with MP on F, the sound should be soft, singers, or in no case can it disappear. On the contractions, it is necessary to fill the product with the tempering, but the sound should not be heavy and screaming.
Since in a metric relationship, the work is not withstanding in a single pace, the conductor still has to maintain a single rod, without yielding to the dynamics.
Tempo ensemble.
This work is withstanding in one pace - one. And aggogical changes that are not fixed in notes and are associated with phrase, articulation, and musical dynamics should not affect the change in the pace. It is impossible to allow excessive hurry, or vice versa, to slow down the common movement, obeying the emotionality laid in music.
As part of this type of ensemble, there may be a dangerous connection of Crescendo with Accelerando, Diminuendo with Rallentando. These concepts should be distinguished and adhere to single techniques aimed at identifying the stylistics and integrity of musical and sound images.
The conductor also plays a big role. From his gesture, the accuracy of the show of the Auftakt, which is asked the pace, depends on the movement in which the choir will sing. Since the pace of this work slow, it means that the auftax must comply with this tempo. In this case, it must be calm, not sharp, it should be equal to one fourth duration of this size.
Temble ensemble.
The execution of this product requires relative equilibrium of votes. But since this work should execute a female or school chorus, then it will not be very difficult to achieve this. The singular nature of the music, the uniform workload of the vocal parties involves the collapral coherence of execution. However, it is impossible to violate the originality of their individual characteristics, striving to identify the highest quality features of each voice.
Working on the timbre ensemble in the party Soprano, the choramister should strive for light, transparent, gentle sound. The sound of the altitude party must be painted deep softness and velvet.
Dickening ensemble.
In order for with good choral homing, the clarity of the conversion of the writing is not paid, we need to pay special attention to good diction, seek a clear pronunciation of words. Public sounds must have a maximum length, and consonants are pronounced at the very last moment. In singing, you should not change the form of articulation of vowel sound, it should be the same from beginning to end, if it is not caused by a certain artistic task.
To achieve good choir diction, it is necessary:
1) Playback closed, rounded sound
2) Clear pronunciation of consonants in the end of the word
3) when combined in the Word of two nearby vowels, for their clear progress when singing, it is necessary to emphasize slightly, allocate these consonants.
The sound of the MP in the choir requires a clear operation of the articulation apparatus of singing. The sluggish articulation can affect the quality of the chorus diction, which in turn will not fully convey the content to the listener.
Metrohymmic ensemble.
The purpose of this ensemble is the achievement of the proper ratio of metrorship between the parties.
Errors that may arise as a result of work on the work:
A. Reducing the duration of weathered sounds and pauses
B. Inertia temporitmic movement
C. Inaccurate withstanding and unprinted ending sound
D. Non-chronic transition to a new sound
1. Development in the choir of ripples
2. Development of breathing simultaneous skills, attacks and sound removal
3. Education of performing flexibility, sensitivity and instantaneous response to the conductor gesture
4. Support per meter. The conductor gesture clearly fix each share of the metric structure.
5. Using the reception of intradole crushing The share of tact, allowing to develop a sensation of rhythmic pulsation from singers.
In choirs, often used rhythm
Since the composer uses in this work a convenient lessetime presentation of the tunes of choral parties and the sound of singing votes is made in about the same convenient conditions, we can talk about naturalensemble.
It is also impossible not to mention the work on private and general ensembles.
The private ensemble implies the concept of mucifice and consistency within one choral party or unison group. Those. When working on a private ensemble, the conductor works with each party separately, achieving a clean and fontic sound, a single manner of vocal choir equipment, the unity of nuanxion, the coented and common climax of the work.
The general ensemble includes an ensemble between choir batches or unison groups of all choir. With the general ensemble, techniques for the sound of the sound of choral parties may vary, taking into account the diversity in the ratio of the variants of dynamic, timbral and dickening execution.
Performing analysis.
The main task of the conductor and performers of this work is to create a picture of the night, sparkling moon track, sleep of all living things. And they should not only create this image, but also to convey it to the listener.
For the performance of the choral essay, not only unconditional ownership of technical skills, but also highly developed aesthetic taste, fine musicality, emotional mobility and high vocal and general consuming levels.
To create a holistic, bright, artistic image, it is necessary to allocate semantic points to which all musical development seeks.
Thus, in the first part, the sense climax falls on T.15-16, to which the composition is carried out, the dynamics in words: "Illusions of happiness".
In the second part - in the words "we float as friends." This joy composer clearly expressed musical means, and the conductor should pronounce this second climax.
Since the work is written in a slow pace and goes on Legato, it is necessary to conduct a legitissism, gently, pull the sound.
Legato technical techniques are performed using a soft, "singement" hand, similar to the broken tool, which allows you to combine the phrase, perform the shifts of harmonic consonance on one wide breathing. Depending on the nature of the work, speakers, within the gesture of Legato will be observed. Light Legato on [P] and leads a gesture of a small amplitude, as if "weightless" hand. On the [ f.] On the contrary, wide and energetic.
For the active and good respiration of the participants in the choir collective, the preparedness is required, the clarity of the entry and removal achieved by the comprehension of phrase, composite system and understandable auftacts.
Very clearly to show slowdowns and accession to the new pace. Auftacts must be soft, comply with the nature of the work.
When conducting and concluding work on the work, it is necessary to strive to generalize the private parts of the execution, compradition of them with the form of the work.
If you put the job correctly, then the main executive principle is the integrity, continuity of movement - will be achieved with the greatest success.
Thus, the performance of this choral product requires both conductor and a chore group of high musical and aesthetic culture, flexibility and sensitivity based on professional skills and choir technician.
Conclusion.
Henry Mancini "Moon River" is one of his pearls in the works for the cinema along with the works of Pink Panther, "singing in a thorns." In this work, the composer mastery of Mancini is expressed, his musical perception of this era.
The meaning of this work is transmitted not only by words, but also music. A bright and convincing performance of this work should cause a deep emotional response from the listeners.
The ideal conditions for the transmission of artistic content and ideas of the composition is the professionalism of the choral team, its flexibility in technical and executive plan, high musical, aesthetic and universal culture, musicality in a wide meaning of concept, sensitivity to artistic images and interpretation of Conductor, his gesture and facial expressions.
The execution of this choir brightly revives the repertoire of any team. Also, this choir is useful in technical development, both performers and conductor.
Performers develop such qualities as
The feeling of the whole, the ability to unite, perform in one breath;
Cantle singing;
Proper breathing;
Hearing control - helps better hear themselves and their colleagues;
Chapel technique, by achieving the purity of the performance of difficult places from a vocal point of view;
The ability to monitor the horizontal and vertical maintenance of the melody;
Realize yourself as part of a single organism - choral team.
For the conductor it is useful in that this product contributes to the development of the gesture legatto.
Vocal musical forms require their own analysis method other than the approach to the tool forms. Capturing the meaning of the word, it becomes the method of analyzing the entire vocal essay in general.
Vocal Production Plan
1. a) genre of the literary and poetic work. b) the genre of the musical work.
2. a) generalized content of literary and poetic text. b) the generalized nature of music.
3. Expressive and visual details of the Vocal Party (Party of Choir) and instrumental support for the word.
4. a) the form of verbal text in the original: stanza, lines in verse; Periods, suggestions, syntagids in prose. b) changes in the structure of verbal text; Repeat strings, words in musical form. c) form of musical, its parts, sections
5. a) meter, rhythm of the poetic word: rhymes, alternance, feet, verbal rhythm in verse; Syntax membership, bringing elements of rhythmic symmetry in prose. b) Music meter and rhythm: clock meter, compliance with the rule of alternance, squareness - noquaticity, a rule of request, a rhythmic pattern.
6. Interaction of vocal (choral) and instrumental parties
7. Conclusions.
Let us dwell on each item of the proposed analytical plan. 1A). As a literary and poetic genre in the XIX century. Mainly the poems attributed to the genre of lyrics, with a division to the "song", Elegia, ODU, etc., also large poems and novels in verses, from which small passages were taken. For example, the "cheerful feast" Pushkin or "in the north wild" Lermontov belongs to the poems of the lyrical genre, and Serenad Don Juan ("nourished alpuhara"), taken by Tchaikovsky for the famous romance, is a "plug-in number" in the poetic dramatic poem A. Tolstoy "Don Juan", the text "bless you, the forest" was highlighted by Tchaikovsky for another romance, also from the major dramatic poem A. Tolstoy "John Damaskin".
In the XX century The genome range of verbal texts for music is extremely expanded. In addition to poetic works, prose also began to be used, and not only artistic, but also household - memories stories, newspaper chronicle, administrative documents, ads. For example, generin, in addition to appeal to Pushkin's poetry, Tvardovsky, Voznesensky, used the historical narration of Pushkin "History Pugacheva", announcements of the holiday home administration (in Bureaucratiad).
1B). According to the genre, literary and poetic and musical works do not mainly coincide, so when Introducing the word to music, it is transferred to the genre of other name: Serenade Don Juan Tolstoy becomes a romance at Tchaikovsky, the historical narration of Pushkin - the poem for Choir Shchedrin, etc. With such genre migration, there is a different rethinking of the source. For example, in the Romance Tchaikovsky "I bless you, forests" on the forefront, the pantheistic admissions of nature, enthusiastic acceptance, and the philosophical-preaching motives of the poem about John Damascus remain beyond. In the Poem Shchedrin from the "History of Pugachev" outside the music work, there are descriptions of many terrible details of the execution, and the text is the basis for a more generalized display of the legendary folk rebar.
2a). The generalized content of literary and poetic text is not the same as its genre characteristic. It is fuller and individual. For example, the lyrical poems of Polonsky, for which the most famous choirs of Taneyev are written - "Evening", the "ruins of the towers" and "see what kind of meal," have every generalized content. In the poem "Evening" Contemplation of the beauty of the evening dawn, the colors of the sunset, in the poem "ruins of the towers" - making the traits of the tale, narration about the long-lasting events, in the poetic lines "see what kind of meal" - a picture of the dive of nature on the night, with her matte Dark paints. Just as a musical work has its topics, a tonality, a leading harmonic complex, a timber flavor, and the product is poetic, the literary has its own theme, a possible plot, mood, a special verbal paint, held from beginning to end.
2B). In the interpretation of the poetic text, the composer usually occurs this or other rethinking of the generalized content of the verbal source: poetry and music are different arts. Even if the composer seeks to embody the word as adequately as possible, he involuntarily brings the meaningful features of his copyright style, the style of the era, relies on its own principles of attitude to the Word. Not complete harmony, but only an agreement on mutual assistance of the word and music, which Asafyev wrote, here already manifests itself quite relief. The generalized text content in music can be emotionally affectated or, on the contrary, muffled, expressed with a bright dynamic increase or relatively union-poinno, can be contrast or one-barractions, it is solid or detailed, etc. Often, the initial lines of the poem are used for the musical content of the entire musical work as a shaped key. For example, in the chief of Debussy on the cl. Sh. Orleans "I am Tamburin heard the ringing"
the above-mentioned words give a reason to the whole choir party throughout the work to build a tambourine ring with the soundness-brassy imitation, while further words are narrated about the "immersion in the dormant", that the "cute heart is not with me."
An example of how to involuntize the nature of the verbal text in music can serve Khaikovsky's choir "Opened Tuchka Golden". Laying the absolutely unchanged poem of Lermontov, the composer reproduced his meditative, thoughtful character, the movement of the mood from the light image of the golden faucet to the image of a crying giant (major paints at the beginning, minor at the end). And although there are no "Rusisms" in the poetic text, Tchaikovsky satressed it characteristic of Russian musical elements: it is no virginity from Z + 2 + Z + Z.D., Folklore Still (type "Height, Height", "And we have seeded"), Ladotonal change. As a result, Tchaikovsky's choir acquired a felt Russian musical flavor.
The case, on the contrary, the intentional change in the general nature of the poetic text can be seen in the choir Taneyev "see what kind of meal." Polonsky's words draw divergence, the shadensy, entailing to the intonations of the pulp and slowed down: "What a mound in the depths of the valleys", "in sleepy dusk", "dim lake", "the pale a month in the invisible in the close monitor of the Size clouds", "without a shelter." The music of Taneev is designed in the character of the way the opposite, in a light weight of Staccato and in a very fast pace, Allegro J \u003d 96. However, the words of Polonsky also served for such a kind of musical interpretation, but others: "Under its transparent haze" (3rd string ), as well as a light rhythm of verse. As a result, in the nature of light "transparent hassle" (though in Minor), the composer was withstanding the entire music side, such a musical image was created. The semantic intonation of the "transparent haze" was painted and all the gravity words of the poem: "Mist", "in the depths", etc.
The musical picture created by Taneyev turned out to be so fresh and the original that neither the performers nor the listeners notice the transformation of the main image of the poem in one of the most remarkable choirs of Russian music: in the musical product, music generally has priority over the word.
3
. In addition to the generalized nature, expressive and fine details presented in vocal-choral and instrumental parties related to the word are significant in vocal-choral production. The pictusivity is detected less often - if the composer is in music in music and aesthetically accepting musical illipality techniques. The expressive implementation of the meaning of individual words is much more common. In addition, expressiveness accompanies images, and both ways to involve the words are interrelated and not separated by the obstacle. But still, different aesthetics of composers imposes its mark on the nature of musical detail. If you compare Tchaikovsky and Taneyev's choirs among themselves, the contrast of aesthetics will be obvious: Tchaikovsky, as in the romance, pictoriality avoids, pleaseing the expressiveness of a close-up, Taneev willingly uses it, connecting with the detailed and generalized expressiveness. Once again we turn to the named choir.
In Tchaikovsky's choir's "spent the night", first of all, the natural singing breathing of phrases is dominated, with lifts to the vertices and decals after them. Inside this pure musical phrase rhythm of the choir, not disturbing it, the moments of musical correspondence are found: "Tuchka" - major, high sound, "rock" - a jump to the highest sound "F", "thought" - the pause, "deep" - The lowest sound and pause with the fermatoma, "cries in the desert" - an intonation focus on the first word and the transition to Minor. The music intends in detail the word, its meaning, but not to the detriment of a close plan of its development and without explicitly illustrating image.
In the choir Taneyev, it can be seen how the word gives an important impulse for the musical ingenuity of the author. The introduction of fine techniques makes them musically bright and fresh.
If the words "ruins of the towers" account for a dragging, slow, epic intonation, on "raised" - a high sound, the words "and the whole leaned" - sequential decals, such detailing of the word is close to Tchaikovsky; But when the words "Merry Rzhanier and Topot Horses" are accompanied by Staccato, a major, a rapid tempo, - before us, the purely Taneev's visual finds (in the reprise of the same topic are quite appropriate words: "Wave trophies are noisy and flashed"). In the choir "Look, what kind of darkness," as we said, the visual stacccato spread to all the work. And in contrasts in the words "without a shelter", an expressive intonation of sigh was allocated, and one of the activating syncopic accents fell on the phrase "phosphorical score". It is important to note that in Taneyevsky choirs, illustrating certain words does not work as a musical whole, since the visual texture applies to large spaces - the whole form or its large sections. In the music of the XX century. Expressive-visual techniques reach a new force due to the introduction of microfrave, vocal choral Glissando, the timbus use of the word. For example, in the Puem Pugachev's poem, there is imitation in the sound of the child of a remote bell tower, in addition, the sound background is created by singing some parties of the solfeggio, the expressive moaning of Glissando and Forest flags are introduced into the climax. On the musical multifaceted poem Shchedrin on ate. Pushkin is approaching the opera scene.
4a, b, 5a, b. The shape and metrohyrmacy of verbal text must certainly be taken into account when analyzing the form of the vocal choir. Analyzing here seems to repeat the path of the composer, which, as a rule, first keeps the finished literary and poetic text in front of him, and then composes music. The analysis of the poetic primary source (it is desirable to take in a special edition, and not in notes) should be the starting point in the analysis of the form of musical.
See section 4. "Poems and their reflection in music." O p.4. In see Section 5. "The implementation of classical instrumental forms in vocal music" and 6. "Actually vocal forms. Classification".
6
. The interaction of vocal (choral) and instrumental parties implies, above all, the leading role of vocals and subordinate tool. As a rule, the musical form is determined by the vocal line, and the instrumental is only taken into account. For example, in the romance, there are often piano entry and conclusion that are not considered the main parts of the form. Within the subordinate role, instrumental support is capable of carrying a wide variety of functions. The simplest function is orchestral duplication, unison support for choor. It resorts to it, for example, sviridov in parts of the "Spring Canta" on the words of Nekrasov. The role of harmonic support is traditionally imposed on the instrumental party - in songs, romances. A rich multiple acquires a whole, sometimes the main voice is entrusted by F.-P., and the subordinate counterpoint vocal voice ("entangle the violin" from the "Love of the Poet" of Shuman). Duet dialogue votes and F.-P. Sometimes occurs sometimes in the chamber lyrics ("I meet the eyes of your eyes" from the same Cycle of Shuman). For composers prone to images in music, the transfer of external paintings, the instrumental party gives fertile soil (Roman Korsakov, Mussorgsky, Kyu, Prokofiev, etc.). Organically interaction of the vocal voice and F.-P. In Ranzhah Rakhmaninov. Here the accompaniment so melodically complements the voice of the voice, which together is formed a complex polymelodic integer and the vocal line its singer draws from interaction with smooth lines of bass and medium votes. Taking into account the role of instrumental support in the vocal work, it is advisable to speak not about two components - music and the word, but about the three-vocal line, the word and the instrumental party.
7
. The conclusions that need to be made as a result of the study of the vocal choral product (according to the proposed analysis scheme), every time they acquire a specific appearance.
For example, as a summary, when analyzing Tchaikovsky, Tuchka Golden, should be said about the combination of loyalty to the lyrical image of the poetic word - the development of its meaning, emotions - with the Russian character of musical intonation, expressed in the Lady and harmony, rhythm and metric structures. With all the laconisms of the musical form (a period of two versions-couplets), thanks to the originality of the musical language, it is the best choir's choirs and a prominent work of Russian choir classics.
And about the romance Rakhmaninova "Spring water" on ate. Tyutchev, as a result, the analysis can be made that the image of a joyful, non-stationary movement in nature and the soul of a person passes through all the elements of the work: the poetic text, exclamation intonation of the voice ("Spring is coming!", "Fun behind it"), solven a texture, That "murder", then a pushing, as well as the very end-to-end form, an inexperienced aspiring forward.
This method of analyzing the vocal choral work is essentially an analysis of the holistic type.
Poetic forms and their reflection in music
Poetic structures - division into stanzas, structure of stanza, metric and rhythm of verse - in vocal music affect the musical shape and expressiveness of the work.
The resentment of recent centuries dominates several of the most stable metric species (stop):
Two-dollar three-dollar fourdoles
Kernel (three) ≤ u dactyl - u u peon 1st - u u u
Yam u ≤ amphibehius u - u peon 2nd u - u u
Pirrichius U U AnaPest U U - Peon 3rd U U - U
Sponddes - - Peon 4th U u u -
"Koltsovsyy five-cover" U u - u u
In Russian poetry pyrical, spondy, peon how the size of the whole poem was not used.
The feet are grouped in line (verse) of 2, 3, 4, 5, 6, forming meters: double-legged Yamb - I 2, double-bearing kernel - x 2, three-stranded yamba or kernel - I 3, x 3, tropoptic dactyl, amphibery, anapest - D 3, AM 3 An 3, four-stranded yamba, chorea, dactyl, amphibrachia, anapest - I 4, x 4, d 4, AM 4, An 4, five-rescue kernel - x 5, Sixtopian dactyl - d 6, etc .
At the same time, the following rhymes differ: Men's - with a shock syllable at the end U ≤, female - with one unstressed syllable ≤ u, dactilic - with two unstressed syllables ≤ u u, hyperdactic - with three unstressed syllables ≤ u u u.
The names of the rhymes - "Men's", "Women" - originate from the rules of the Old Freastsez grammar, according to which the words of the female genus have an unstainless vows at the end, and the words of the male race do not have:
uNE PARISIENNE UN PARISIEN
(Parisian) (Paris)
The most common reception, organizing rhyms in the mass of poems, is the alternation of male and female rhymes, called the rule of Alternance:
Detached alpuhara ≤ u
Golden edges, ≤
On the inviting ringing of the guitar ≤ u
Get out, my sweet! ≤
(A.K. Tolstoy)
Types of meters and rhymes have their own shades of sound. Thus, double-bearing poems are lightweight, fast, multi-colored, such as a hexameter (six-leaved dactyl - d 6), - on the contrary, solemn, slow, dactilic rhymes are broken, in Russian poetry originally with a popular flavor.
Types of poetic stuff differ in the number of rows and order of rhymes.
Four Street Strips with Cross Rhyme - Abab:
On the mountains, two frowning clouds oh, the Lord of the Face
Sultious evening wandered with priceless gifts
And on the chest of the Mountains of the Morry Lord, creating all of nothing,
By night, the unknown, the all-knowing, who is frightened was slowly slipped.
(J. Polonsky) (Narki, Transl. N. Grebneva)
With adjacent (pair) rhyme - A A B B:
Oh, I will be long, in the silence of the night mystery,
Cunning tinted your, smile, gratitude gloom,
Fronts obedient hair thick strand
From thoughts to cast out and call again.
(A. Fet)
With a zone (cover, ring) rhyme - a b b a:
Month is swimming
And quiet and calm
And young man warrior
There is a battle.
(M. Lermontov)
Multi-line forms
10 Lowner Starf of two interconnected tercets and one katro - Aab \\ CCB \\ deed
Look what kind of meal
In the depths of the valley lay down!
Under its transparent haze
In the sleepy dusk Rakit
Dull lake shines.
Pale month invisible,
In the close bed of the SIZY TUR
Without a shelter in the sky goes,
And through everything goes
Phosphoric loop.
(Ya. Polonsky)
14-line "Onegin" stanza of three quarters with cross, adjacent and sliding rhyme, closed with adjacent rhyme - abab \\ ccdd \\ effe \\ gg:
Blessed, who was young as a smallest,
Blessed, who ripen on time,
Who gradually live cold
With the years, I was able to endure;
Who did not indulge in strange dreams,
Who is not strangering secular
Who in twenty years was Frant Il Vushka,
And in thirty, married;
Who fifty released
From private and other debts
Who is glory, money Il the ranks.
Quietly in line achieved
About whom told the whole century:
N.N. wonderful person.
(A. Pushkin)
14-line sonnet from two interrelated katsins and two interconnected tercets - ABBA \\ ABBA \\ CDC \\ DCD:
Vestiva I Colli E Le Campagne intorno Spring dressed up the surrounding hills and fields
La Primavcra di Novelli Onori, New Gras
E Spirava Soavi Arab Odori and, crowned her hair and flowers,
Cinta D "Erbe, E Di Fior Il Crine Adorno, breathed as Arabian flavors,
Quando Licori All "Apparir del Giorno when lycirride, breaking on the morning dawn
Cogliendo Di Sua Man Purpurei Fiori Purple Flowers,
MI DISSE: In Guiderdon Di Tanti Onori told me: as a reward for so much praise
A Te Li Colgo, ED ECCO IO TE M "Adorno. I tear them and decorate you.
Cosi Le Chiome Mie, Soavemente so gently speaking, I covered my head my wreath
Parlando Mi Cinse E in Si Dolce Legami and so gentle Uzami squeezed his heart
Mi Strinze Il Cor, CH "Altro Piacer Non Sente, that another joy does not want.
Onde Non Fia Giammai Che Rir Non L "Ami and therefore will never be my eyes
Degl "Occhi Miei, Ne Fia Che La Mia Mente stopped loving her, or so my soul
Altri Sospiri, about Desiando Io Chiami. Began to sig on others or call them
In his desire.
(anonymous author, translation I. Likhacheva)
Rhymes are not always completely accurate as in all the examples above. Verified in verses, various inaccurate rhymes, called "Rhymoids", for example, are used
"Other - Saints - Batya", "straw - strangers":
Five-flyers with inaccurate rhyme -a b A1 A2 B1:
Song - Lestenka in the heart of another.
Behind the hair of shepherd straw
The eyes of the shepherd-saints.
Don't you on the road in Batya
Saying people unfamiliar?
(V. Khlebnikov)
Finally, poems may be completely deprived of rhymes ("white verse") and to build only on the basis of a poetic meter:
Dawn a burning flame and hid shouting seagull.
Scolded on the sky sparks. White foam swings
Spears the radiant sea. In gray stone, as in the cradle
Quiet on the road of the coastal child. Like pearls
Bubakers talking non-stroke. Delicate dazzling drops
Migoretors The ringing song was hung on the leaves of Chestnuts:
In the dense forest launched. And in every Rosinka trembles
In the transparent fog flashed the dawn of the burning flame.
(Ya. Polonsky)
In vocal cholar works of the XX century. Along with verses, prose is very widely used.
Elements of symmetry existing in any prosaic text - first of all, division to suggestions and phrases, also syntagma (verbal constructions, pronounced in one breath). In addition, individual words can have rhythmoevuky similarities - rhymeids. Take a small passage from the "History of Pugachev": "For a detachment, Kirassir drove sleigh with a high ammon. On him, with an open head, Pugachev was sitting, he bowed on both sides. " A certain large periodicity forms two complete proposals here. In addition, the last words of each sentence relate to each other on the principle of some sound similarity, Rhymoid: "Ambon" - "Parties". Finally, for the verbal design of the work, the author may be introduced any words that are not addressed in itself literary and poetic text. So, one of the earliest choirs of Shchedrin "Iva, Ivushka", built in the form of a full fugue, is equipped with only one verbal phrase, an inclusive theme of the Fugue: "Iva, Ivushka, you are wrapped." It is not by chance that the composer marks the "vocalization" subtitle to his chorus. When using verbal text in the musical product, the composer can preserve the verbal form literally (as in the choir's chief "the tuchka"), but it can make a change in one or another kind: to reduce the text, repeat the structure, string, word, give dismemberment not according to a stroke or metric Structure, and in meaning and syntax, replace some words by others.
Reducing a literary and poetic source is natural, since the genre of romance or a separate choir requires a small text of the text, so as not to exit the framework of the genre. Examples of abbreviations: Tchaikovsky, Night Romance on SL. Polonsky ("Why I love you") - 8 lines were released before the last stanza; Shchedrin, six choirs for Pushkin's poems "Strafs" Eugene Onegin "" - None of the 6 choirs "Oneginskaya" 14-line stanza is not fully given, in particular, in the choir "Blessed, who has a young quantity", only primary quadruses were used ( compared. With full stanza on our p.20).
Repetitions of the storage (or initial lines) are associated with the most important problem of the musical form - the problem of reprisal. Since in vocal cholar forms is a leading musical principle, composers allow themselves to transform the structure of a verbal primary source to observe the musical pattern in the composition. It is clear that if there is a reprise in the poem itself, it attracts the attention of composers. The reprint of the full initial stanza contains in the original, for example, the texts "I am here, Inesilee" Pushkin (in the romance of Glinka, Dargomyzhsky), the song of Gypsy ("My Bonfire") of Polonsky (in the Romance Tchaikovsky), the reprinted line - "That was the early spring" A. Tolstoy (in the Romance Tchaikovsky), "I am sad" Lermontov (in the romance of Dargomyzhsky), "Evening" Polonsky (in the choir of Taneyev). The introduction of the repetitions by the composers themselves see in the romance of Tchaikovsky to verses A. Tolstoy "Do not believe me, friend", "I'm on the Niva Yellow", I knew I ", in the choir Taneev on the poems of Polonsky" Look, what kind of mellies "(two reprzyno repeated first lines). The repetition of individual words or verbal phrases is a phenomenon, very common. It is especially natural and even inevitably in the polyphony - whether Music Lasso, Jesualdo, Roman-Korsakov, Taneyev, Shchedrin, Bartock or Kcheneca. The presence of Roman-Korsakov in this row is especially surprising: the composer, so zealously guarding the inviolability of the word in the romance, in the choir as if in the form of compensation, provided himself with a complete freedom of verbal repetitions, structural breaking of verse. And at the Taneyev in one of the choir "Look, what kind of darkness" the word "see" sounds 35 times!
The same choir gives an example of dismembrance by the composer of the poetic form not according to the stubbic structure, but in meaning and syntax: in the original, the 10-line structure consists of two tercets and one katro (we led it - 3 + 3 + 4), the Taneyev is shaped like 5 + 5, in accordance with the end of the proposal in the words "Lake Blue Lake." An example of a substitution of the word composer in the poetic original: instead of the "trophies of war" at Polonsky - "Trophies of the Wave" at Taneev in the choir "The ruins of the Towers, the Eagle Residence". Literary-poetic text, converted in one way or another, purposefully close to the requests of the musical form.
The rhythm of the poetic word includes its own accentuation of words, moments not only comprehension of metric accent, but also passes of circuit strokes, also inserts of superchaim. Unlike the rigor of the metric, the rhythm of the word has much greater freedom and variety.
In the prosaic text there are also its streamlining patterns. First of all, there are syntactic divisions on suggestions, phrases covered by speech syntagma. The membership of this kind creates a certain dimension, artistic symmetry, even in the simplest conversational text, for example, in the "advertising" chore for trafficking from Prokofyev (Libretto composer):
U ≤ u ≤ u ≤ u ≤
Buy Fish with Barges Señora Mendoza!
From Guadalquivir, from Guadalimar, from Guadalbulon.
In the 1st line several times the foot of the Yamba arises, in the 2nd the words-associations are applied, with unity (Anaphore).
Rhymoids in prose are sometimes formed due to the generality of the norms of word formation in any language; For example, in Latin, the expiration sample on the letter "S": Sanctus. Dominus.deus, ... in Excelsis. Music can reveal, emphasize and put on the service symmetrical-ordered elements of prose text.
In the works on the poetic texts, the music meter and rhythm reflects a metrolamic organization of the word. But the rule is not a slave subordination of music to the word, but an indispensable retreat from the metrohymic grid of verse, the appearance in the music of the "counter rhythm" (the term E. Strochiev, denoting an independent rhythmic pattern in music compared to verbal rhythm).
In the Taneyevsky "Evening" three-colored amphibrachius (AM 3)
U ≤ u u ≤ u u ≤ u
Dawn burning flames
it was reflected in the initial 3-stake and choosing size 6/8. Alternars in verse is not. Asking impeccable.
In the Choir "Ripal Tower" 4-stop amphibrachia (AM 4)
U ≤ u u ≤ u u ≤ u u ≤
The ruins of the towers, the dwelling of the eagle
he affected the quadacity of clock groups and the introduction of small trioli. In general, in the music of the choir in relation to the word - pronounced his own, "counter rhythm". Alternance Reefs are not again. Asking accurate. In the Tchaikovsky's chief "Tuchka's night" 5-stop keeper (x 5 - see signs over a string) contains a double replacement of Khorora's foot on pyrical (signs under a string):
≤ u ≤ u ≤ u ≤ u ≤ u
Opened tuchka golden
UU Uu.
The 5-stop point was reflected in the 5-stake in the initial phrases. Otherwise, the "counter meter" was found in music - 3/4 (only at the end - 2/4). Alternance in rhymes no.
The rule of request is observed perfectly.
Choir "Look, what kind of darkness" relies on the poetic 4-stop kernel (x 4), with the addition of pyrrhia at the beginning (signs at the bottom of the string):
≤ u ≤ u ≤ u ≤
Look what kind of meal
U U.
The 4-stop point of the verse is associated with musical quadacity, jubilability - with a choice of even size 4/4. In accordance with the pyrrhee, the word "see" in the music reading begins mainly from this. But thanks to the 35-time repeatability of this word in the development of the work, it varies accently, is carried out with a syncope: see. Such an accent game with a word is embedded in a characteristic Russian tradition that meets the national specifics of the Russian language and transferred to the music of Russian composers from folk dance songs ("CE" Yali-Sayli "). Intentionally violating the linguistic request, Taneev sensitively caught the artistic possibilities of this violation.
In the prosaic text, the repetitions of the words of structural order give a direct reason for structural repetition in musical form. This is the case with canonical religious texts in spiritual and musical works. The characteristic example is №1 "take, bow" from the "Vigil Vigil" Rakhmaninov. Text - 4 lines with the same principles: "Get, bow to the prince of our God. Purchase, we will bow and fit Christ the prini to our God. Purchase, bow and fall in the most Christ, Tsareva and God to our. Purchase, bow and fall to him. " Rachmanins creates on its basis the variant form of 4 musical options (A1 A2 A3 A4), in which the first 11 sounds are the same, and the continuation is different. We present the initial 11-sound phrase (see S. Rachmanins. Vigil Vigil. №1. Put, bow).
In other cases, composers find a reason for musical repeats and in the absence of repetitions in words. For example, in the "Faith Symbol" (86) from the 1st Liturgy of Greekinova, a three-part form with a reprise on new words of the text is created: 1Ch. "I believe in a single god of my father", 2 h. "" We are for the sake of a person, "3 hours, reprise," and in the Holy Spirit. "
V.N. Holopova. Forms of musical works.
Analysis of musical works, analysis of music.
Ministry of Education of the Russian Federation
Vologda State Pedagogical University
M. R. Gogolin
Choral work
Vologda
"RUS '"
Ministry of Education of the Russian Federation
Vologda State Pedagogical University
M. R. Gogolin
Student work on annotation
Choral work
Admitted to the methodical association
by specialties of pedagogical education
as a tutorial for students
higher educational institutions
specialty 030700 - Musical Education
BBK 85.31 p 3 is printed by decision RIS VGPU
Reviewer -
U-gene-IR, Professor Petrozavodskaya
state Conservatory, Cand. Art historian
Gogolin Student over the annotation of choral work: Tutorial. - Vologda: VGPU, Publishing House "Rus",
2003 - 88 p.
The proposed training manual consists of introduction, five sections, conclusions, applications and literature of literature. Its main purpose is to help the student when writing them the annotations of the choral works studied in the classification classes and choral studies. The entire work plan on the annotation is described in detail in detail, the methods of analyzing choral scores and features of the written design of the results obtained are disassembled.
© VGPU, Publishing House "Rus", 2003
ISBN -4 ©, 2003
From the author
A significant place in the professional training of future music teachers is held by the conductor-humiliation. The development of this specialization helps classes in the classification classes, choral singing, learning the course of cholar. Ultimately, the student during the years of his studies must acquire the necessary skills both for a successful performance at the State Conducting Choir Exam, and for its subsequent pedagogical work.
In the process of preparatory work, the student must carefully shut through the work carried out on the exam, master the technique of its conducting, find out the genre and style features, draw up a rehearsal plan for working with choir. Similar work is carried out by a student also in preparation for passing transition course examinations. And in that and in another case, he needs to make a similar analysis in writing in the form of annotation. Assist in this work, to send and teach a student to analyze the choral work - it is this task that the authors of this manual have been written in writing.
There are various ways of writing annotations, also the proposed plans for the design of the analyzed material on thematic sections. In general, in all cases is the fact that both in others are partitions of musical and theorem
ticker, vocal-choir and performing analysis of artistic expressiveness.
In our opinion, it is advisable from the very beginning to distinguish all the means of musical expressiveness, the analysis of which is assumed in the annotation, for stable and mobile. Stable (they include all means of expressiveness independent of the Contractor or dependent to a small extent) must enter the section "Music and theoretical analysis" and "vocal-choral analysis". These include: form of work, harmonic language, textured features, type and type of choir, range, etc.
On the contrary, all mobile (executive) means of expressiveness are included in the "Executive Analysis" section, such as the tempo, dynamics and others. That is why there is reasonable, in our opinion, the inclusion of the chapter on the "vocal-choral analysis" section on the ratio of natural and artificial ensembles, while the analysis of other types of ensemble (system, rhythmic, dynamic, etc.) should be attributed to the section "Executive Analysis". It is explained by the fact that the moments of the occurrence of ensemble and non-instabitrating chords are closely related to various tessatural combinations of votes. Testura, as well as the range, is an indicator of stable, independent intentions.
In most well-known children's textbooks, the Executive Analysis section is dedicated to the main identification of various choral difficulties. However, work on the establishment of rhythmic, bar and other types of ensemble is the process of identifying specific choral problems and finding ways to overcome them. Based on this, our executive analysis plan includes the analysis of all types of choral ensemble.
Without pretending to write a full-fledged textbook, the author of the benefit, however, sought to include the necessary amount of theoretical information into each of the heads of the above sections. Understanding that this information in many cases will not be enough, we have a list of special literature, which, we hope, will be useful in resolving issues related to the analysis of forms, harmony, conducting conductors, etc.
Not doubting that the work on writing annotation can be for many first step towards independent research work, the author included a section on the proper registration of scientific work. It provides modern requirements for quotation, links, some ways to edit text and draw up a list used when writing the work of literature.
Introduction
Annotation of the choral work is a written statement of the analysis of this work. Starting work on a new product, a student must build a clearly substantiated executive plan on the basis of the entire complex of the funds of artistic expressiveness (interpretation), show a clearly pronounced relationship and understanding of the articulated content of the work. Analysis of the choral work is carried out by consistently studying the following sections:
Historical and aesthetic analysis
1. Creative portrait of the composer and its main works .
2. Brief description of the creativity of the poet, the analysis of the poetic text.
3. The history of the work of the work, its main idea and content.
Music and theoretical analysis
1. The form of the work and its structural features.
2. Genre base.
3. Lady and tone base.
4. Features of the harmonic language.
5. Melodic and intonational basis.
6. Metrohymmic features.
7. Temp and aggological deviations.
8. Dynamic shades.
9. Textual features of the work and his musical warehouse.
10. The ratio of choral score and maintenance.
11. Communication of music and poetic text.
Vocal choir analysis
1. Type and type of choir.
2. Range and lestitude features of the work.
3. The ratio of a natural and artificial testicular ensemble.
4. Features of the use of timbre paints and choral "Orchestration".
5. Taking choral letters.
6. Types of choral respiration.
Performing analysis
1. Ensemble Building and intonation ensemble.
2. Rhythmic ensemble.
3. The tempo ensemble.
4. Dynamic ensemble.
5. Barry ensemble.
6. Dickening and orthoepic ensemble.
7. Performing phrase.
8. Creating a performance plan.
9. Rehearsal plan.
Features of the conducting gesture
1. Characteristics of conductor gestures.
2. Types of used auftacts.
3. Carrying Fermat and Pause.
4. Features of conducting metric and rhythmic structures.
Work on the annotation should begin long before the start of its written presentation. The information obtained during the work parsing immediately needs to be systematized, writing them out strictly by sections corresponding to the annotation plan. Inside sections, a uniform material must be clearly grouped. Annotation is important and how the language is outlined. Each phrase must contain a sense, any idea to be expressed clearly and if possible in short. Poor if the proposals contain a lot of information, multiple repetitions of the same words. Therefore, it is written useful to read out loud - this will help identify and correct these disadvantages.
It is necessary to pay attention to the correctness of writing special terms, foreign words. In my work, a student is important to adhere to the rule: all terms and special designations need to write or translated into a native language, or in the original language.
In the process of draft work, as well as in final editing, it is necessary to follow the correctness of the text separation on paragraphs. The beginning of each paragraph should correspond to the change in the semantic content of sections or individual phrases.
Historical and aesthetic analysis
In this section, the annotations are concentrated about the poet, the verses of which the work is written, about the composer, about the history of creating a literary source and its incarnation in musical images. I get acquainted with the work of the composer and the poet, it is very important to first collect data on the era, in which they lived, aesthetic and artistic views of the authors.
It is interesting to note the community or distinction of co-authors' views on certain phenomena of art. It is also necessary to get acquainted with a number of other works of the composer and the poet, which makes it possible to draw conclusions about the characteristic features of the creative hand writing of each of them.
The final result of historical and aesthetic analysis should be clarity in the overall concept, in the idea, the scale of the composition, the emotional tone of the work as a whole. Moreover, preliminary conclusions regarding stylistics, musical language and forms will be refined in the process of musical and theoretical analysis.
1. Creative portrait of the composer and its main works
The characteristic of creativity should include the biographical data of the author of the music and its brief life-in-law - years of life, teachers', place of residence.
The characteristic of the composer's creativity is ideas, themes, images of its works, their genre base. It is also necessary to identify the most important and general traits of the choral style of the composer. This should be facilitated by analyzing the most commonly used choir compositions, originality in the use of parties of choir, typical textured and harmonic solutions. It is very important to find out what he attracted the composer in the work of the poet, whose verses were written to the studied work. Interestingly, the verses of what poets underlie the other writings, how and how the author with poetic primary works works, whether they are being recycled or remain in immutability.
If the musical work is the processing of a folk song or translating the vocal work, in addition to the data on the composer, it is necessary to bring information about the processing of the processing, the genre of the work, to identify the peculiarities of the existence of the work in the traditional form.
2. Brief description of the creativity of the poet,
collapse of the poetic text
Just like the previous chapter, the characteristic of the creativity of the author of the text should begin with the instructions of the biographical data of the poet. This also includes the analysis of the literary source and the comparative analysis of it with the text used in the choir. After analyzing the original source, it is important not only to give it a brief characteristic, but also to bring a detailed analysis of the text structure, size, phrase.
The storm is characterized by the presence of a metric start, that is, alternating strong and weak syllables. Depending on the number of the syllats of the foot are divided into two-, three-, four-sided, etc. Depending on the position of the impact syllable, there are different in the foot:
Double-sizes- Yamb and Korea .
Korera - two-sided size with stack in the foot on the first syllable ().
/ Bu-ripped / MGLU / non-Bo / Cro /
Jamb - two-sided size with stack in the foot on the second syllable
().
/ My Dia- / Dia / M Hyfli / Vil /
Three-sizes - Dactyl, amphibery, anapest.
Dactyl - three-sided size. The first syllable is the shock and the next two - unstressed ().
/ Clouds of non- / info-E / eve of / e / countries-ni-ki /
Amphibehi - three-sided size. The first syllable is unstressed, the second is a shock, the third is unstressed ().
/ That Smallk-zero / ve-se-ly- / I speak /
Anapaest - three-sided size with an emphasis in the foot on the third syllable ().
/ I te-BE / never / not Ska /
/ I te-bia / not meeting /
Special place occupy odd sizesfound in folk poems. The greatest value among them has a five-seat size, which most often appears as () + (), that is, in a different way, jerey + Dactyl. The reverse order is much less common.
Analyzing the poem, the student needs to be described (see above) to the text of the text (see above) shock and unstressed syllables and divide the footsteps. We should not forget that the stop can begin and end in the middle of the word.
In some choral works may not be a specific author of the text. This refers to the processing of folk songs or writings on canonical spiritual texts. In these cases, it is necessary to give a historical certificate about the emergence and traditions of using this kind of texts. If the work is written on a foreign or (which belongs to Orthodox chants) by the Old Slavonic language - it is necessary to make a literal translation of this text and find out the value of incomprehensible sacral words1 words.
3. The history of the work of the work,
its main idea and content
Turning directly to the analysis of the work, it is interesting to know what caused the reason for his occurrence, the history of creation, which works were composed simultaneously with this choir, his place and role in the work of the composer.
It is important to find out the place of this work in a number of other compositions of the composer, to analyze its content as a whole, if only part is studied (for example, part of the cantata, mass, oratorio). If this is a cyclic work, then you need to evaluate
Total cycle, basic artistic images, determine the place and role of the choir in the work of a large form.
The most important point is to find out the main idea of \u200b\u200bthe work. Very often the content of the poetic text does not coincide with the way that occurs when there is this text to the music. Any full-fledged poem is multifaceted, and therefore the composer in its essay does not always reflect it completely. More often is just some sides of one or one of the few of its artistic images. We must not forget that the literary source itself may have not only realistic, but also a symbolic interpretation. To find out this and should be paid to a significant place in this chapter.
To understand the content of musical images and, as a result, the idea of \u200b\u200bthe work in the work will help the analysis of expressive means, with the help of which are accented or, on the contrary, poetic images are muffled. It follows from this that the chapter makes sense to work after the musical and theoretical and vocal-choral analysis is made. To see in the process of these studies, the formation of the main idea of \u200b\u200bthe work means to be aware of many of the most important points: on the degree of compliance of musical and poetic images to the correctness of the choice of a composer of a particular type of choir or other performing staff.
Music and theoretical analysis
Music and theoretical analysis involves coverage of a wide range of issues related to the definition of the form of the work, its relationship with the form of the text, genre base, a lado-tone plan, features of the harmonic language, melodic, phrazing, pace-rhythmic features, textures, dynamics, choir ratios With escort and communication of music with poetic text.
By carrying out a musical and theoretical analysis, it is more expedient to go from a common one to the private. It is of great importance to decipher all the designations and instructions of the composer, understanding them and understanding their means of their expression. It is necessary to remember that the structure of the choral work is largely determined by the characteristics of the construction of a verse, music and the word are organically combined in it. Therefore, it is advisable to first pay attention to the construction of the literary text, to find a semantic climax, compare the works on the same text written by different composers.
Analysis of the means of musical expressiveness should be especially thorough and detailed in terms of harmonic analysis. The solution of a number of issues of the integration of parts of the whole, the determination of private and general climax depends largely on the correct estimates of the data of harmonic analysis: the growth and decrease of tension, modulation and deviations, diatonic and alterated dissonants, the role of non-assembly sounds.
Music and theoretical analysis should help identify the main and secondary in the musical material, logical, taking into account the work of the work. The idea of \u200b\u200bthe work of both the completed artistic integrity is already at this stage of study, close to comprehend the copyright.
1. Form of the work and its structural features
As a rule, musical and theoretical analysis begins with the definition of the form of the work. At the same time, it is important to find out all the structural components, starting with intonations, motifs, phrases and ending with suggestions, periods and parts. The characteristic of the relationship of parts includes a comparison of their musical and thematic material and determining the depth of contrast or, on the contrary, the thematic unity laid between them.
Different musical forms are used in choral music: period, simple and complex two - and three-part, bureaucratic, stubbic, sgonate and many others. Small choirs, choral miniatures are usually written in simple forms. But along with them there are also the so-called "symphonic" choirs, where the usual is a sonate, stubbic or form of Rondo.
On the process of forming in choiring, not only the laws of musical development are affected, but also the laws of rectification. The literary and musical basis of the choral music is manifested in the diversity of the forms of the period, in the bureaucratic and variation form and, finally, in the free interpenetration of forms, in the appearance of a stubbic form that does not occur in instrumental music.
Sometimes artistic design allows the composer to keep the structure of the text, and in this case the shape of the musical work will follow verse. But very often the poetic source is subjected to significant processing, some words and phrases are repeated, some lines of text are produced at all. In this case, the text undertically obeys the logic of musical development.
Along with the usual forms in choral music, polyphonic foods, motels, etc., are used, etc. Fugue from all polyphonic forms is the most difficult. By the amount of that it can be simple, double or triple.
2. Genre Base
The key to understanding the work is the correct definition of its genre sources. As a rule, a whole complex of expressive means is associated with a certain genre: the nature of the melodes, the warehouse is presentation, the metrochromic, etc. Some choirs are fully constructed within one genre. If the composer wants to emphasize or strain different sides of the same image, it can use the connection of several genres. Signs of a new genre can be found not only at the junctions of large parts and episodes, as often happens, but also in the simultaneous presentation of the musical material.
Music genres can be folk and professional, instrumental, chamber, symphony, etc., but we are primarily interested in people's song and dance origins underlying choral scuffers. As a rule, these are vocal genres: a song, a romance, ballad, a drinking, serenade, Barcarol, Pastoral, Marsh Song. The dance genre base can be represented by Waltz, polonais or other classic dance. In the choral works of modern composers, there is often a support for newer dance rhythms - Foxtrot, Tango, Rock and Roll and others.
Example 1. Y. Falik. "Stranger"
In addition to the dance and song base, the genre associated with the features of the performance of the work is also determined. It can be a choral thumbnail A Cappella, a choir with escort or vocal ensemble.
Types and childbirth of musical works, which have historically established in connection with various types of content, in connection with its defined life, are also divided into genres: Opera, Cantate-Oratorial, Mass, Requiem, Liturgy, Vigil Vigil, Panhid, etc. Very often Such genres is mixed and forming hybrids of the type of ballet opera or symphony-requiem.
3. Lady and tonal base
The choice of Lada and the tonality is due to a certain mood, character and in the way that the composer thought was made. Therefore, when determining the main tone of the work, it is necessary to disassemble the entire tonal plan of the product and the tonality of its individual parts, to determine the sequence of tonalities, modulating and deviations.
LAD is a very important expressive agent. Coloring major Lada is used in music expressing fun, cheerfulness. At the same time, the means of harmonic magazine are attached to the shades of grief, increased emotional tension. Minor root is usually used in dramatic music.
For various tonalities, as well as in Ladas, certain coloristic associations were entrenched, playing an important role in choosing the tone of the work. So, for example, composers are widely used by a light color of the up-major for enlightened, "sunny" fragments of choir essays.
Example 2. S. Taneyev. "Sunrise"
With gloomy, tragedy images are firmly associated with the tonality of the Mi-Bell Minor and the Si-Fleol Minor.
Example 3. S. Rachmaninov. "Now let go».
In modern scores, key signs are very often composer. This is primarily due to very intense modulation or functional uncertainty of the harmonic language. And in that and in different cases it is important to identify talidly sustainable fragments and, pushing out from them, make a tonal plan. It should, however, remember that not every modern work is written in the tonal system, often composers use the atonal methods of organizing the material, their own base requires a different type of analysis, rather than traditional. For example, composers of the so-called Novovenic School Schönberg, Webern and Berg instead of Lada and a tonality used in their writings, a twelve-toned series2, which is the starting material and for the harmonic vertical and for melodic lines.
Example 4. A. Webern. "Cantata № 1"
4. Features of the harmonic language
The method of harmonic analysis of choral scores is represented by us in the following sequence.
The work implies the theoretical study of the work only after it is worked out in the historical and aesthetic plan. Consequently, the score sits what is called, in the ears and heart, and this is the most reliable way to protect against the danger to break away from the content in the process of harmonic analysis. It is advisable to view and listen to the chord chord all the essay. It is impossible to guarantee in each individual case an interesting results of harmony analysis - not every product is quite original in relation to the harmonic language, but the "grains" will certainly be discovered. Sometimes it is some kind of complex harmonic turnover or modulation. Inaccurately fixed with hearing, at closer examination, they may be very important elements of form, and, therefore, the artistic content of the work clarify. Sometimes it is especially expressive, forming kadans, harmonic accent or polyfunctional consonance.
Such a focused analysis will help detect the most "harmonious" episodes of scores, where the first word belongs to harmony and, on the contrary, are more neutral in harmonic terms, where it only accompanies the melody or supports counterpunctic development.
As already mentioned, the value of harmony in the formation is great, so the structural analysis of the work is always tightly linked to the study of the harmonic plan. Harmony analysis helps to identify the functionality of certain items. For example, a long-term discharge of dominant harmony is very dynamizing the presentation, enhances the intensity of development in the final sections, and the tonic authority, on the contrary, gives a feeling of calm and sustainability.
It is also necessary to pay attention to the colorsistic possibilities of harmony. This is especially true of harmony in choral works of modern composers. In many cases, those methods of analysis are not suitable here, which are applicable to the writings of earlier eras. In modern harmony, the consonance of an intimate structure, bifunctional and polyfunctional chords, clusters 3 play a major role. Very often, the harmonic vertical in such works arises due to the connection of several independent melodic lines. Such, or as it is also called, linear, harmony is characteristic of Powl Chinteitis, Igor Stravinsky, composers already mentioned Novovenic school.
Example 5. P. Hindemite. "Swan"
In all the above cases, it is important to find out the features of the creative method of the composer to find the right method of analyzing the harmonic language of the work.
5. Melodic and intonational basis
When analyzing the melody, not only external signs are taken into account - the ratio of jumps and smooth motion, translational movement and long-term stay at one height, the mission or intermittentness of the melodic line, but also internal signs of expression of the musical image. The main thing is the awareness of its shaped-emotional
menage, taking into account the abundance of detentions, the presence of halftone intonations, increased or reduced intervals, leaning sounds and rhythmic melody design.
Very often, only the top voice of the choral scorching is mistakenly understood under the melody. It is not always true, as the primacy has not been fixed once and for ever for any voice, it can be transmitted from one to another. If the work is written in a polyphonic style, then the concept of a melodically, the main voice is completely extension.
Melody is inextricably linked with intonation. Under the musical intonation, small particles of melody are understood, melodic turns that have a certain expressiveness. As a rule, it is possible to talk about one or another character of intonation only in certain contexts: tempo, metrohymic, dynamic, etc. For example, speaking of the active nature of quartct intonation, as a rule, mean that the uplink interval is clearly selected, directed From the dominant to the tonic and from such as a strong proportion.
Like a separate intonation, the melody is the unity of different sides. Depending on their combination, we can talk about lyrical, dramatic, courageous, email and other types of melody.
When analyzing the melody, the consideration of its way is essential in many ways. The features of the National Union of the melody are very often associated with the road side. Analysis of the bullet side of the melody is no less important to clarify the immediate expressive nature of the melody, its emotional system.
In addition to the bulk of the melody, it is necessary to analyze a melodic line or a melodic pattern, that is, the set of movements of the melody up, down, at one height. The most important types of melodic pattern are as follows: sound repetition, sound squint, ascending or downward movement, entered or hoppy movement, wide or narrow range, varied repetition of the segment of the melody.
6. Metrohymmic features
The meaning of the metrochrit as an expressive musical agent is extremely large. It manifests the time of the properties of music.
Just as musical and high-rise ratios have a lade base, musical and rhythmic relations are developing on the basis of a meter. Meter is a consistent alternation of strong and weak fractions in rhythmic movement. A strong share forms a metric accent, with which the musical work is divided into tacts. Meters are simple; Two - and three-sided, with one strong share in the tact, and complex consisting of several inhomogeneous simple.
It is impossible to confuse a meter with a size, since the size is the expression of the meter by the number of specific rhythmic units - counting fractions. Very often there is a situation when, for example, a two-dollar meter is expressed in size 5/8, 6/8 in moderate pace or 5/4, 6/4 in a rapid pace. Similarly, the three-tetral meter can manifest in size 7/8, 8/8, 9/8, etc. .
Example 6. I. Stravinsky. "Our Father"
In order to determine which in this product of the meter, and, therefore, to properly select the appropriate conductive conductor, it is necessary by the method of metric analysis of the poetic text and the rhythmic organization of the work to determine the presence of strong and weak stakes in the tact. If there are no division divisions in the score, such as in everyday chants of the Orthodox Church, it is necessary to independently determine their metric structure based on a textual organization of musical material.
Rhythm, as an expressive agent associated with the metric organization of music, is the organization of sounds by their duration. The simplest and most common pattern of the joint action of the meter and the rhythm is to their parallelism. This means that the impact sounds are at the advantage of long, and unnatural - brief.
7. Temp and aggatic deviations
The expressive properties of metrolastam are closely related to the tempo. The rate value is very large, since the nature of each musical image corresponds to a more or less definite speed. Very often, to determine the pace of the work, the composer sets the designation of the metronome, for example: m ♪ \u003d 120. As a rule, the certified share specified by the author corresponds to the metric and helps the correct finding of the conduction scheme in this work.
And how to act in the case when instead of the metronome, only the character of the pace is indicated: Allegro, Adagio, etc.?
First, it is necessary to translate the tempo instructions. Secondly, remember that in every musical era, the feeling of the pace was different. Third: there are certain traditions of execution of a work, they concern, including its tempo. Therefore, proceeding to learning the scores, the conductor (and in our case, the student) it is necessary to carefully examine all possible sources of the necessary information.
In addition to the main pace and its changes in each work there are so-called aggatic changes in the pace. This is short-term, as a rule, on the scale of the tact or phrase, lifting or deceleration within the primary pace.
Example 7. G. Sviridov. "Night clouds."
Sometimes the aggatic changes in the tempo are governed by special instructions: A Piaceree - Fluent, Stretto - squeezing, Ritenuto - slowing down, etc. The farm has also important for expressive performance. In most cases, the fermat is at the end of the work or completes part of it, but it is possible to use it in the middle of the musical work, thereby emphasized the special meaning of these places.
The existing opinion is that the farm increases the duration of the note or pause by half, is true only with respect to reports. In later works of the farm - this is a sign of the extension of sound or pause for an indefinite time, suggested by the musical side of the artist.
8. Dynamic shades
Dynamic shades - concept concerning the power of the sound. The designations of dynamic shades affixed by the author in the score are the main material, on the basis of which it is necessary to analyze the dynamic structure of the work.
The dynamic designation is based on two main terms and concepts: Piano and Forte. Based on these two concepts, varieties arise, denoting one or another power of sound, for example,
pianissimo. In achieving the most quiet and, on the contrary, the most loud sound is often affixed with three, four and even more, letters.
To refer to the gradual gain or reduce the power of the sound, there are two main term: Crescendo and Diminuendo. On shortest segments of music, individual phrases or tacks, graphic designations of strengthening or reduction of the soundness are usually applied - expanding and tousing "forks". Such symbols show not only the nature of the change in the dynamics, but also its borders.
In addition to the specified species of dynamic shades, distributing on a more or less long-term segment of music, other, whose action refers only to the note on which they are affixed are used in choral scooters. This is a different kind of accents and designations of a sudden change in sound force, for example, SF, FP.
Usually the composer only indicates a common nuance. The clarification of everything that is written "between the lines", the development of a dynamic line in all its details - all this is a material for the work of the conductor. Based on a thoughtful analysis of the choral scooter, taking into account the style of the work, he must find a faithful nuance arising from the content of music. A detailed conversation about it - in the "Executive Analysis" section.
Hello guys! (Theme lesson is called at the end.)
And today we will continue the conversation about the genres of vocal and instrumental music.
Let's remember the concept: vocal music.
Vocal music - This is the music in which vote dominates or equal to tools, accompanied or a Cappella. (Slide number 1)
Differently, we can say that Vocal music is music for singing.
What kind of vocal music genres do you know? (song, romance, cantata, oratorio, opera)
With the work I will offer you to listen, we have already acquainted in past lessons. Discover it?
HEARING: "Vocaliz" S. Rakhmaninova
Who remembered this work?
Who wrote it? ( Slide number 2)
Under what circumstances did this work appear on the light?
What mood creates this work from the listeners?
What feelings and thoughts wanted to convey to us S.V. Rachmaninov?
Who performed this work?
Why did the composer decide to write it without words?
What genres of vocal music do you know yet? (song, romance, cantata, oratorio, opera)
Very often, the same genre is found in vocal music and in instrumental.
With the work that I will offer you to listen, we are not yet familiar.
HEARING: "Romance" to the story A. Pushkin "Misel" G. Sviridova ( slide number 4)
(Analysis of the musical work) (slide number 5)
This work wrote composer George Sviridov. And called him "Romance".
Maybe someone knows what ROMANCE?
Romance - This is a vocal essay written on a small poem of lyrical content. ( Slide number 6)
Notice inconsistency? (The work of Sviridov does not have a literary basis, i.e. refers to the genre of instrumental music)
But this is the example of which I told you before listening to this work.
Indeed: the form of the romance passed into instrumental music called "Romance Sans Paroles" ("Song without words") Let's compare the "romance" of Sviridov and "Vocaliz" S. Rakhmaninova
What is common with these works?
(These works sound like a human expressive speech, as confessing his soul. "Vocaliz" permeate the feelings of impaired, latitude and leisureness of melodic development bring it closer to the lyrical folk song.
A more open manifestation of feelings in the "romance" Sviridov brings his sound to the city romance.
OUTPUT: The expressive possibilities of the musical language are extremely wide, diverse and cover the sphere of human senses)
- The work with which we will get to know now belong to the genre and vocal and instrumental music. itBarcarole.
In the world of music exist Vocal and instrumental Barcarol.
HEARING : "The Song of the Venetian Gondoller" F. Mendelson(slide)
What genre does this barcarol include? (instrumental)
She looks like a song? Can we say that this is a song without words?
It was F. Mendelssohn for the first time applied the name "Song without words" by writing a cycle of piano plays intended for homemovication.
We listen to another work.
HEARING : "Venetian night" M. Glinka (vocals)(slide)
What genre does this barcarol include? (vocal)
Barcarol M. Glinka was written on the poem of Nesor's puppeteer.
And another Barcarol Franz Schubert ( SLIDE)
Barcarol
Filled blue
Today, like yesterday.
Oh, waves are removed,
For a long time? Until morning?
We and in the darkness of the night
Unrest of love
Tears firing eyes,
Fire burns in the blood.
And the splash swung
Widespread
And quietly opened
Cepent window.
And you rest, waves,
Suffered does not give;
Hopes and passion full,
All night love sings.
Filled blue
Today, like yesterday.
Oh, waves are removed!
Do not sleep until the morning!
You listened to the Barcarol F. Mendelssohn and M. Glinka, F. Shubert What did the general noticed?
(There is a measure of rhythm, soft swinging motion of melancholic melodies)
What do you remind the melodies of these works? (They resemble the monoton rhythm rowing and monotony of the boat)
Barcarol - This poetic, beautiful word is called a musical genre, the origin of which is associated with the songs on the water (from Ital. Barkarola). (slide)
You are well known for the words "Barcas", "Barge", which occurred from the Italian Barka, which meansa boat. And the Italian verb rollare meansroll . Thus, bicarol -swing boat . (slide)
Write down the concept of notebook:
Barcarol is a genus musical or vocal product of a melodic nature at a slow paceassociated with the image of boating. (Slide)
We look at the slides with handlamps.
Homework.
In the creative notebook, compare the mood of the romance ("Venetian night" M.I. Glinka) with the mood of the picture "Italian landscape" A. Mordvinova.
Reflection
What genres of music did we meet? (vocal and instrumental)
What the name crossed the form of a romance to instrumental music? ("song without Words")
What works by F. Mendelssohn we met at the lesson? ("Song of the Venetian Gondoller")
What genre is this product? (Tool Barcarol)
What vocal barcarole we met? ("Venetian Night" M. Glinka on the words N. Puppeter)
Self-assessment sheet.
Today, the topic of our lesson sounds like this: "Vocal and instrumental music genres"
Vocal-choral analysis is the most special annotation section. Its data allow us to relate the technical requirements of this choral score with the real possibilities of the alleged performing staff. At the same time, an occasion appears deeper into the artistic intentions of the author. Composer takes into account the quality of choral sound in certain conditions and uses its possibilities in order to achieve an artistic effect. If, for example, some part of the choir is placed in special tessectural conditions or is used by an antacambling (from the point of view of natural sound) chord, then this is not always dictated only by the logic of musical development. Only to the end of the significance of any reception, it is possible to estimate the degree of difficulty of its execution.
The vocal-choral analysis begins with the characteristics of the type and type of cholar, clarifying the total product range and the ranges of each choral batch in particular. It is these information that make it possible to judge the compliance of this score capabilities of one or another choral team.
Clarification of the resultant features of the work gives the basis for a conversation on the presence of ensemble and non-embarrid chords in it.
Getting started to analyze the use of timbre paints and characteristics of choral "orchestration", it should be remembered that all types of votes in connection with the specific conditions of their use are inherent in certain timbre qualities, density and sound volume.
Analysis of the techniques of choral writing is closely related to the preceding part of the annotation. In fact, if, sacrificing a choral "orchestration," should talk about the use of timber paints, then here, first of all, how they interact. This section is also associated with an analysis of the textured characteristics of the choral work, since it is precisely from various techniques that the musical material is set up what is called the texture.
Ends the vocal choir analysis description of the methods of choral respiration applicable in this work. In all cases, it is necessary to substantiate the use of this or that type of breathing, the need for it. The main thing that should be the logic of the development of musical and poetic thought both in the whole choir, and in each of the parties.
1. Type and type of choir
The type of choir is determined depending on which parties it is made. Choir consisting of female votes is called a homogeneous female choir. Similarly, a male choir is called homogeneous male, and the choir consisting of boys and girls is called a children's choir. There is a tradition of execution of works written for children's choir, female composition and vice versa. Determine what the type of choir in this case suggests the author, if they are not specified specific types of votes, it is possible on the basis of the articulated content.
Choir consisting of male and female votes is called a mixed choir. A variety of his choir, in which the party of women's votes fulfill the boys, often called the boys choir. As a rule, all Orthodox spiritual chants written before the beginning of the 20th century were intended to perform the composition of mixed choir.
The type of mixed choirs also includes incomplete mixed choirs. Incomplete mixed choirs are such a choir, where there is no one of the parties. Most often it is bass or tenor, less often - any of female votes.
Each type of choir corresponds to certain types of choirs. The type of choir testifies to the number of choral parties, which are included in its composition, choirs are one-haired, two-haired, three-haired, quadbands, etc.
Homogeneous choirs have in their composition, as a rule, two main batchs (soprano + alta or tenor + bass), therefore, the main type of homogeneous choir is two-eye. The mixed chorus consists of four main parties, and its most characteristic appearance is four-voice.
Reducing and increasing the number of actually sounding batches by duplication or, on the contrary, separation can give new types of choir. For example: a homogeneous single-haired chorus, a homogeneous four-voice choir, a mixed eight-haired chorus, a mixed one-haired chorus, etc.
Duplication and separation can be both constant and temporary. Choral score with an unstable change in the number of votes will be called the episodic single, two-, three-, octaging, with an obligatory indication of a stable number of votes (for example, a homogeneous two-haired female choir with episodic three-rope). With temporary separations that sometimes, the Italian word Divisi, emerging new voices, are usually subordinate.
In addition to ordinary choirs, there are also polyhistric compositions when several choirs having independent choirs participate in the execution of works at the same time. Such polyhistric scores are especially common in opera music. In Orthodox musical practice, there is also a tradition of the composition of the so-called anti-pony [antipheral singing (literally - the sound against sound) is the type of execution, in which two choirs are alternately sound, for example, the left and right-wing tray in the Orthodox Church] of the works at which two choir sing, as if answering each other. Such formulations are called respectively: double, triple, etc.
2. Range and Testing Features of the Work
After determining the type and type of choir, it is necessary to find out the range and the thrusterities of choral parties. First of all, the overall range of choral scorpies is determined. To do this, you need to "measure" the distance between the extreme bottom and the upper sounds found in this score. For clarity, it is possible to note them on a new one as follows:
The concept of the range is closely related to the concept of the testicular, the most used part of the range in this work. To estimate the Testura, it is necessary to carefully study the use of register capabilities of votes in all parties throughout the composition. Tessautura, depending on the range and register features of a particular party, can be medium, high or low. For example, the party registers soprano will look like this.
Example 20. 
Similarly, with regard to the characteristics of vocal ranges, registers and other choral parties will be distributed.
Testing can be called comfortable if the high-rise position of the choral batch corresponds to the free sound of the voice. If, in the process of execution, the voice sounds for a long time in an uncomfortable register, intensely, - the tessura is considered inconvenient. It is difficult to sing for a long time in the upper case. In the low register, the technical and dynamic possibilities of votes are significantly limited. In most cases, significant parts of the choral parties are placed in the middle, most convenient for singing, tessuration.
However, the foregoing does not mean that the use of extreme registers is undesirable and wrong. Very often, in this way, the composer is achieved by the necessary timbre allocation of a particular party, creating a certain color.
3. The ratio of natural and artificial ensembles
Two types of ensembles are distinguished in vocal cholar analysis. These are the so-called artificial and natural ensembles. The fact is that it is often in the choral scorching of a chord in the choral score, in which the testicular conditions in different parts of unequal, and therefore it is very difficult to achieve equilibrium of the sound of votes. This provision was called an artificial ensemble.
With a natural ensemble, the same testicular conditions in all voices contribute to the equilibreence of sound, and as a result, no additional efforts are required to dynamically equalize the chord.
Natural and artificial ensembles are closely interrelated with another type of ensemble - dynamic. The fact is that the thrust conditions of each voice are adequate to some kind of nuance. So, low tessura corresponds to the nuance of Piano, the average - MEZZO-Forte, and high, respectively - Forte. To learn how to determine any chord from the point of view of a natural or artificial ensemble, it is necessary to carefully analyze its thrust components.
Example 21. 
This chord presents the type of artificial ensemble, since the thrust conditions of male and female choirs are different. The tenor and bass sound in high tessia, while soprano and alta are in the middle.
In another example, the resultant conditions for all parties are the same, everyone is in their upper registers with the general nuance of Forte. There is an example of a natural ensemble.
Example 22. 
It is necessary to remember that it is practically not found works, entirely written in one or another image of the ensemble. As a rule, we can only talk about the predominance of any one of them or indicate the zones of the use of each. Very often, the types of the ensemble may vary on the borders of phrases, offers or parts of the choral work.
As for polyphonic works, they, as a rule, issues of a natural or artificial ensemble are not considered, since the testicular inconsistencies in them serve to more embossed the thematic material and the allocation of the main topics. The exceptions are fragments written in the chord warehouse.
4. Features of the use of timbre paints and choral "Orchestration"
Composers in their creative searches seek to achieve such timbre paints, which would most fully, deeply and interestingly revealed the essence of artistic images. The task of the choir conductor is to understand why those are chosen by the author, and not other timbre solutions. From this largely depends on what sound appearance will have scrolls studied with choir.
For example: the main themed material is set forth by the author in the altitude party, and not at soprano. The conductor can not not wonder: "Why?". The fact is that the same sounds sound with a different timbre painting in the party of soprano and in alto. Soprano will perform the topic with lighter sound, the alty, on the contrary, will give the dark coloring. Apparently, in this case, this timbre, according to the author, the most figurative reflects the content of the work.
Example 23. S. Rachmaninov. "Small Slavor" 
However, it should be remembered that the timbre features of each voice depend on its specific use in one part or another of its range, as well as from the sound strength used. To clarify these problems, there is a need to return to the previous section of the manual, where there is a conversation about the tessectural features of each choir party.
The use by a composer of those or other timbres, depending on the artistic causes, is called a choral "orchestration". In fact, if you draw an analogy with a conventional orchestration, we will see how and here composers are taking care of the rates of timber paints all the time. In the orchestra they use string, brass, drums and other tools, in the choir there are only four choral voices in various connections. Therefore, one or another fragment of scores can be "orchestrated" by a homogeneous or mixed chorus, their rollbacks, using solo votes, inclusions and shutdowns of various choral parties and many other timbre combinations of votes.
In the choral works of modern composers, the sonoristic side of the partitions is given great importance. Under the monorate [Sonorism - one of the methods of writing in the music of the 20th century, based on the operating of timbre-colorful sonors. It has a leading importance to the overall impression of sound paint, not individual tones and intervals as in tonal music] usually understand the use of any unconventional species of the grain component. For example, a very often choir is simulated by any tool or a non-music sound: wind noise, laughter, clinking of broken glass, bell punch, etc. As a rule, the focus is on the sound-altitude, but the timbre characteristics of choral sound.
Example 24. V. Gavrilin. "Terrible Baba" 
Sometimes the sorneal elements of the scores interact with traditional means of artistic expressiveness, they grow from them or they dissolve.
5. Taking choral letters
As noted above, the techniques of choral letters are associated with the use of choral paints. In particular, techniques such as generalizing the topic, duplication, unison, the transfer of melodies from one batch to another, comparison or separation of choral groups, are essentially receptions of choral orchestration and should be considered in the previous annotation section. It should also be highlighted on such specific things as crossing the votes, overlap, the environment of the main topic and choral pedal.
Example 25. I. Stravinsky. "Virgin Delo, Rejoice" 
2. When crossing the party is lower located above higher. Such a location is associated with the characteristics of the voice science, as a rule, in the music of a polyphonic warehouse.
Example 26. S. Rachmaninov. "Now let go" 
Example 27. V. Gavrilin. "Evening music" 
One of the teles of choral writing is a choral pedal. There are one-haired, blessing and more multi-voice choral pedals. A single-haired pedal in the form of a weathered sound can occur in any voice choral score. Features of the voice and register in which the pedal note sounds, report various shades of the sound flavor of the work.
A rhythm pedal is also encountered in choirs in the form of multiple repeats of one or more pedal sounds. One of the varieties of a rhythm pedal is a hotly repeated melodic formula.
Example 28. V. Gavrilin. "Sowing" 
6. Types of choral respiration
Each work makes certain types of choir breathing.
The first stage in this work is the alignment of breathing in individual parties and in the choir in general. In the place of alleged respiration, "check mark" is usually put. Depending on the warehouse, the work or part of the moment of breathing can coincide in all parties completely, partially or not to coincide at all.
Considering a choral score from the vocal side and preparing her party with the text, it is necessary to determine the places of Cesur, which in the works with the word are associated not only with the change of breathing, but also with the requirements of musical phrase. The phrazing is usually directly related to the construction of literary phrases. Most often in the endings of musical phrases, there are peculiar, barely notable short pauses-cesura, where it turns out to be a possible change in breathing. Therefore, when determining the moments of breathing it is very important to take into account their coincidence with the cesurates of musical and literary texts.
If the text is pronounced at the same time in the entire choir, the problem of breathing is easily solved. In the works of a polyphonic or mixed warehouse, the definition of respiratory moments is a more complex task, since each party has an independent development line in them. In such works, there are often compared to several thematic elements and, as a result, choral buses can acquire various functional importance as the composition of the musical thought of the writings. Since the literary text is pronounced in each batch in different ways (completely, partially, with the repetition of individual words), then the moments of breathing can be found only as a result of the analysis of the structures of both individual parties and the form of the work as a whole.
It is important to take into account that breathing in the works of a polyphonic warehouse in the same way as in ordinary, coincided with the cesules in the melodic lines of individual parties and did not violate thematic development as a whole. Logical therefore, the alignment of breathing signs before the entry of the main topics, anticons or after their conducts. Thus, the main themes of the compositions will allocate more brightly and relief.
In all cases, the conductor (and in our case - a student) is obliged to substantiate the need for breathing. In addition to the above cases, when determining the borders of breathing, the real possibilities of respiratory reserve are important. In cases where the duration of sound exceeds the physical capabilities of singers, the so-called chain breathing is applied. Its essence is that the change of breathing is made by chorists not at the same time, but as if "chain", supporting the continuity of the sound.
The use of chain respiration is not always appropriate. As a rule, it is used in the works of a lyrical nature and a leisurely tempo, in the processing of Russian long songs.
At the same time, the united phrase can be separated by breathing, crushing on short segments and individual words. In each case, the need for such crushing text should be due to the articulated content.
Formally, any pause can be used for breathing, but not on every pause, however, should take it. In some cases, it is more expedient to take advantage of the breath's delay to give it a fragment of greater connectivity to one or another fragment.
Determining the moments of breathing, the conductor must determine the depth of breathing in each case, which depends: on the degree of expressiveness of the melody of tempo characteristics, register, dynamics, from the length of musical phrases. This should be guided by the prerequisites of an objective nature. For example, a slow paced, the lower register and stress dynamics require a large reserve of air, deep breathing, and vice versa, fast paced, short phrases, movable melody need easier and short breathing.