Vocal - choral analysis. Annotations of a choral work Analysis of a vocal work with a similar instrumental

The Mordovian folk song “Goodbye, geese-swans” was written for a children’s or women’s choir without instrumental accompaniment. The type of choral performing composition is three-voice: soprano (first and second), alto.

An arrangement of the Mordovian folk song “Goodbye, Geese-Swans” is intended for choral performance a’capella. The composition of the choir is children's or homogeneous female. The range of the upper voice in the volume of an octave (from “E” of the first octave to “E” of the second octave). The range of the middle voice is a minor seventh (from “D” of the first octave to “C” of the second octave). The range of the lower voice in the volume of an octave (from “A” of the small octave to “A” of the first octave).

The tempo of the song is adagio, and remains unchanged in the processing. However, at the end of the entire work, it is advisable to increase the slowdown in order to emphasize the final emotion of the dramatic development of the image.

The entire arrangement of the song is performed quietly on "p", but a slight increase in sonority is present in the fourteenth measure, during the climax. Both verses of the song are performed in low-contrast, often quiet dynamic shades, because The composition is sincere in its semantic content, but restrained; feelings are not put on display (which is typical for folk art).

The work begins with the introduction of the first and second sopranos, out of time, from the third beat.

Range of choral parts:

Thus range of the entire choir:

In general, in combination the timbre coloring of the voices is light, and the sound is required to be soft and rich. With all the proximity to folk music, the manner of performance of the work is implied to be academic. The following types of ensembles are used in this work:

diction – work on clear pronunciation of words;

the stroke is legato, which is typical for a drawn-out lyrical song;

sound attack – soft;

breathing - chain;

Difficulties in performance may arise when jumping over wide intervals (for example, jumping a fifth in the first voices: bars 4,5,6). It is also difficult to hold one note in the upper voice (bars 14,15,16). The ensemble is natural.

The dynamic ensemble is important in the verses and in the connections of the verses; the piano is sung calmly.

The conductor's gestures help the choir to penetrate into the concept of the work and strive to implement it in their performance. A flexible and clear display of all means of performing expressiveness (dynamic nuances, metrhythm, tempo, agogics, etc.) is necessary, which ensures the development of a holistic figurative and dramatic plan of the work.

Entries and withdrawals must be clear.

It is also important to show the climaxes in each verse, which occur not only in the fourteenth bar, which will lead away from the monotony of performance and determine the logic of dramatic development. In the context of the entire work, there must be a relationship between the amplitude of the conductor’s gesture and the dynamics of the work.

Performance difficulties

When learning to perform the arrangement of the Mordovian folk song “Goodbye, geese-swans..”, you may encounter some difficulties. For example, the entry of the alto part in the third measure should be intonationally pure and soft. The lower voice should fit neatly and accurately into the song. It is also necessary to monitor the high position on descending second intonations. In an ensemble, it is important to listen to all the parts as a whole, and also to monitor the purity and equal pitch of sustained and repeated sounds in the chords. It is necessary to rhythmically perform all quarter notes and eighth notes rhythmically, without stretching them out, singing with stops that slow down the movement. The conductor should ensure that the choir gives the appropriate timbre coloring for each part. The difficulty is in pronouncing the first word “goodbye” on the piano, since the syllable “do” must be sung roundly, on a support, and the subsequent word “bye-aniya” must be sung, accurately hitting each note. The entire subsequent structure of the work depends on the first phrase. Next, you must not change the manner of performance throughout the entire song. The entire song is performed in chain breathing, dynamically developing from piano to mezzo forte. Intonation difficulties may arise in the first soprano part in bars 5.6, since there is a leap of fifths, as well as in bars 14, 15 and 16, where one note “E” of the second octave is held. The second soprano part is more flexible than the first soprano or alto part. Therefore, it is important here to clearly adhere to the conductor’s hand and sing each note more clearly. Violas need to switch to performing the chest register in the fourth, thirteenth and seventeenth bars, without making the sound of the voice heavier, but maintaining its softness “velvety”. The first soprano needs to use the melodic line with a light, but not ringing sound.

The conductor's gesture should be unhurried, soft, smooth, and unsweeping in legato. It is necessary to “sing” each sound with your hand, paying special attention to the display of chanting figures (eighth notes), “culminations”. You should not drag the final chord in the last bars, because this can break the unity of form. Before the beginning of the second verse, a small caesura is necessary so that the choir can take a short breath.

When learning how to edit a song with a choir, first go through each part separately, then combine the voices in twos, and then into three voices. This will help to hear and then expressively and vividly perform each choral voice in the overall sound of the score.

From the point of view of rhythmic organization, it is important to avoid “pushing” on each beat when the rhythm unfolds evenly. There should be a flow, not beating beats. Some agogic deviations from the tempo are allowed, for example, a “drag”, a slight slowdown at the end of the first verse.

Elements of the subvocal part of the viola part can be difficult to learn. To overcome the difficulty, you can use vocal exercises, as well as a more clear demonstration by the conductor of the introduction of each part.

It is often difficult to avoid, during an upward movement, highlighting the last syllable, as for example in the eighth measure in the word “belite”. Here it is necessary to soften the upper sound and avoid loud performance.

Work on a vocal work can be divided into several stages:

• getting to know the work and its authors
• analysis and learning of a vocal part (determining tonality, size, solfegging, working on the purity of intonation, on complex melodic turns and intervals, on the accuracy of the rhythmic pattern), singing with words
• work on sound science, diction and articulation
• determining the form of the work, determining the semantic and dynamic climax
• work on phrasing, dynamic nuances, tempo, agogics
• work on the vocal and accompaniment ensemble
• achieving artistic and imaginative stage performance

Let us dwell in more detail on the first four points.

Getting to know the work and its authors

Initially, the teacher, opening the notes of the vocal work chosen for the student, voices the title of the work, the names of the authors (composer and poet), motivates the student’s interest in this work, pointing out the novelty of the material and its level of complexity.

At the same time, the teacher stimulates the student’s desire to work on this work, saying that it is this student who can perform such a vocal work, that according to vocal abilities, abilities and skills, it is this student who can cope with the performance of such a complex, but wonderful work.

The student is asked to find information about the authors of the vocal work, familiarize himself with them and present in the next lesson all the information found (years of life, curriculum vitae, creative heritage).

The teacher guides the student’s actions, indicating search paths, and suggests using the Internet, visiting the library: listening to other works by the composer, reading other poems by the author of the poetic text (it is advisable that the teacher have pre-prepared lists of works by the composer and poet that are most accessible to children, and suggest them to the student for review).

The student receives such homework in order to intensify his search activity, aimed at better mastering new material and developing independent ability to replenish his own knowledge.

Analysis and learning of a vocal part

Together with the student, the entire poetic text of the vocal work is read and the content is analyzed, the mood is characterized, the idea and meaning embedded by the poet in the text are revealed, and incomprehensible words and expressions are explained. The student retells the content in his own words, after which the work becomes more understandable and closer in feel to him.

The tonality is determined, the key signs and size are announced. After tuning in key and calculating the “empty beat”, the melody is sung with notes, i.e. solfegging. It is important to focus the student’s attention on intervals, durations, rhythmic patterns, counter signs, which will help the student more easily master the musical text and facilitate his further homework. It is best to sing without relying on the support of the instrument, but to intonate by ear, only periodically checking the purity of intonation on the instrument. This approach contributes to mastering the skill of solfege, developing vocal hearing and, as a result, acquiring another skill of pure intonation, which is important for a vocalist.

When the initial singing from notes, which is at a moderate pace with stops for clarification and working through all the difficult places encountered in the melody, is completed, the student and teacher sing the vocal part together several more times, until the student has confidence in intonation and a feeling of mastery arises melodic line. By doing homework the student will consolidate the singing of the vocal part with notes and gain freedom of intonation.

The next moment is singing with words. Here, too, dwelling on phrases and sentences, working over several bars, the exact chants on syllables, grace notes and melismas, if any, are determined and worked out, the touches of legato, staccato, non-legato, accents, fermatas indicated by the composer are reviewed and executed.

Next, the student sings together with the teacher the entire vocal part of the work with words, first in parts, and then from beginning to end, achieving the correctness and purity of the melody and verbal text.

To summarize the initial introduction, the student sings alone, independently. Following this, the teacher performs the just analyzed piece for the student, which leads to even faster learning and memorization of the vocal part by the student.

Then, it is advisable to sing the piece with accompaniment. This will allow the student to feel and better understand the holistic image of the work and its beauty.

Work on sound science, diction, articulation

So, acquaintance with the work and its analysis took place.

As you know, vowel sounds are sung, and consonants are pronounced briefly and clearly. What is important here is the correct formation of vowels, which is what a lot of attention and time is given when working on diction and articulation.

Often inexperienced singers tend to chant, as a result of which the coherence, melodiousness and integrity of the melody are lost. One of the most effective methods of working on sound science deserves special attention in this case. This technique is called “vowel leveling.”

Vowel alignment is the singing of the vocal part of a piece only on vowel sounds, excluding the pronunciation of consonants (in phrases, in sentences and completely).

For example, the first phrase of A. Varlamov’s romance “The Lonely Sail Whitens”:

“Be-le-et pa-rus o-di-no-kiy” sing with the vowels “E-E-E-A-U-O-I-O-IY”, thinking about the consonants in these words, but without saying them (consonants are pronounced mentally).

• Sing legato in the desired rhythm and tempo. Sing with the desire for a climax in this phrase, i.e. to the beginning of the word "sail". Apply a crescendo to the syllable “pa”, or more precisely to the vowel “A”.
• Concentrate on the smooth “flow” of sound from one vowel to the next.
• Monitor correct singing breathing, freedom of the vocal apparatus, a high singing position and the direction of sound into the resonators.

Such work, when focusing not on words, but on the voice and sound, allows the student to achieve a cantilena, a smoothly flowing sound (throughout a whole phrase, sentence, period), good articulation, and correct vowel formation. Determining climaxes within phrases and striving for them (which requires the implementation of dynamic shades) when singing using the technique of vowel alignment leads to the best result of achieving beautiful, correct sound design with dynamic development of the melody.

When the melodic segment has already been worked out in this way, you need to sing it with the inclusion of consonants, i.e. with words, indicating to the student that it is necessary to sing, just as with alignment, preserving the design of vowel sounds, their coherence and dynamics, while consonants must be pronounced briefly and clearly.

Once again, it should be noted that in the process of all classes with the student, it is necessary to constantly achieve a beautiful full sound of the voice on a support, in a high singing position using resonators, i.e. simultaneously and continuously improve all vocal and technical skills acquired both during singing and in the process of working on vocal works.

Work on diction and articulation is carried out throughout all stages of working with a vocal work.

This is a separate big topic, so we won’t dwell on it.

There are many publications that detail material on working on diction, articulation, and orthoepy, so a number of authors and their publications should be named, which you can and should turn to if necessary:

• Menabeni A.G. Methodology for teaching solo singing - “Enlightenment”, 1987;
• Menabeni A.G. Educational material for individual vocal training of a music teacher secondary school// Theory and practice of vocal and choral training of music teachers in secondary schools - M., 1980;
• Dmitriev L.B. Fundamentals of vocal technique - M., 1970;
• Malysheva N.M. About singing - M., “Composer”, 1992;
• Morozov V.P. Secrets of vocal speech - M., 1967;
• Stulova G.P. Choir class - M., "Enlightenment", 1987.

Determining the form of the work, finding the semantic and dynamic climax

The next stage of work on a vocal work is to comprehend the form in which the composer put the poetic text and determine the most vivid, emotional place in the dynamic development of music, i.e. climax.

This is an important stage in the work of every musician, since any piece of music becomes bright, imaginative, understandable and interesting to perceive when it is not monotonous, but multifaceted in dynamic shades and has its own dynamic development from the introduction to the climax and further to the final chord.

After determining the dynamic culmination, it is necessary to find the semantic or, in other words, logical culmination, which is contained in the poetic text. Most often the climaxes coincide.

But the semantic culmination does not always coincide with the dynamic one. Therefore, you need to carefully consider where the most significant place in the work is located, and how it can be shown.

Perhaps, depending on the artistic image and idea of ​​the entire work, on the instructions of the composer, the climax will need to be performed with a bright dynamic shade of f, (ff) or p, (pp). And perhaps this will need to be achieved by slowing down or speeding up. But it is possible that the execution of the climax will be achieved through the simultaneous execution of the desired dynamic nuance and agogics.

When working with a student on a vocal piece, you need to teach him to understand the significance of climaxes and achieve their execution.

Feeling the form and knowing the climax of the work, the student will consciously work on his performance and, as a result, will be able to convey the artistic and emotional image and ideological intention of the authors of the vocal work.

All further work on a vocal work should be aimed at improving vocal technical skills, polishing performing skills, developing creative abilities, and acquiring the student’s vocal mastery.

Bibliography

1. A.G. Menabeni “Methodology for teaching solo singing” M.: Education, 1987
2. N.M. Malyshev "About singing". M.: "Sov. Composer", 1988
3. Wikipedia (http://ru.wikipedia.org/wiki/)

Naberezhnye Chelny, 2011

Sitdikova O.A.

ANALYSIS of the choral work “In the finest hour...” Lyrics by E. Remizov music by M. Zakis

Modris Zakis is a Latvian composer. It is known that in addition to this work, he wrote the choral work “Will He Come Soon.”
Evgeny Remizov is the author of spiritual poems such as: “Holy Spirit”, “Ascension”, “Trinity”.
This poem has two text versions. The first, about a person’s personal conversation with God:
At the finest hour

In the quiet hour of the night,
God and silence are with me.
All the pain of the soul, suffering
And I bring him grief in prayer.

And it pours over me
In that finest hour the saint
With a wonderful radiance
God's eternal light.

And I see the path before me,
Leading to heaven.
In the saint's finest hour
God and silence are with me.

The second tells about the birth of Christ:

In the quiet hour of the night

In the quiet hour of the night
In the bright shine of the stars
Christ came into the world, Emmanuel,
The heavenly son came to our world.

The whole world is sin, suffering
And sorrow, and all the guilt of people,
He will bear the pain of the earth.
One whole load of sin
He will take over.

And poured over the ground
In that quiet hour, the saint.
Wonderful light with the gentle radiance of a star,
that burns above.
And to all living he says:
"From these mangers to the cross
He will complete His way.”

Oh, how the star burns!
God gave Christ to the world,
And therein lies salvation!
Praise and praise
Christ for all his love!

At the finest hour of the night
quietly Good God,
God speaks to the Earth:
“God is with you!”
And with God there is peace, and holy peace.

Although the second text is more meaningful, I think that in terms of the content of the musical material and text, the first is most appropriate.
It talks about prayer, a person’s turning to God and the grace that comes to people who sincerely pray, about the consolation that prayer brings.

II. Music-theoretical analysis

The choral work “In the Finest Hour” by M. Zakis was written for a mixed 4-voice a capella choir.
The genre of the work is song.
A simple 3-part reprisal form with a code.
The chord texture predominates throughout the work.
Part I is a period consisting of two sentences of 10 bars each.
Part II is a period consisting of three sentences, the first is 10 bars, the second is 6 bars, the third is 11 bars.
Coda is a sentence of 9 measures.
Predominance of chord texture.
Melodic line. In each part, the same motif is repeated repeatedly in different voices, but sounds in different keys: the leitmotif of the night. It is built on the sounds of a major triad - this gives stability to the theme. In the first part and coda, the motive begins on the first beat, in the middle - due to the measure:

In the first part, the melody sounds alternately in different voices (bars 1-5). After showing the theme, which consists of a leitmotif that sounds 4 times, the melody becomes more dynamic due to rising eighth notes. This creates tension, which is resolved in bars 8-10, first with a downward movement, then on one note:

Then the melody moves to altos (10-14). There are few leaps in it, only in bars 11 and 13 there are quarto-fifth leaps, which gives the melody a dramatic feel. And the theme ends for the violas with a subdominant quintextac chord with a raised prima without permission from the entire choir.

Then the melody again moves to the first sopranos, and the chord only reaches its resolution in bar 15.
The melody moves without jumps, tension is achieved through the repetition of m.2, uncharacteristic for e-moll (raising 4 steps) in 15-16 bars and a melodic minor in the cadence (19 bars):

The second part begins with a double conduct of the main theme in the keys of G-dur and C-dur due to the soprano’s beat:

A characteristic feature of the second part is the undulation of the melody: alternation of ascending and descending moves. During the climax, the melodic line reaches its peak, then the echo of the climax (its appearance begins abruptly on beat 6, measure 44) ends with a gradual lowering of the melody by the female choir. And it ends with a constant melody in the range of thirds for tenors, the rest of the choir holds one note:

The coda begins with four iterations of the theme; by the end, the entire choir sings two motives on one note, which are separated from each other by level 5 for the soprano. Within the first motive there is a transition from the natural mode to the harmonic mode.
The work ends with the singing of the second soprano (the second division of the soprano, the first at the climax) while the entire choir sings the note.

Rhythm. The first and third parts are characterized by a certain rhythmic pattern:

Another, more acute, rhythmic pattern is characteristic of the second sentence of the first part and the entire second:

Tempo - Adagio. In the second movement the tempo becomes more agile (piu’ mosso). The agitated movement, increased dynamics, undulating melody and lyrics all create tension that builds toward the climax. After the climax, the tempo again becomes Adagio, which tells us about calm. At the very end of the work, the tempo slows down even more and brings us to complete peace after the tense climax.

Dynamics. The work begins with p and in the first part does not increase by more than mf. The first part is showing the situation in which the author finds himself: there is silence around him, he turns to God to alleviate suffering - there is no need for loudness here.
But in the second part there is a dialogue with God, who sends his gracious light to the one who asks, and the light fills the author, inspires, illuminates him - all this is expressed in dynamics: a gradual increase from mf to ff at the climax.
In the third part there is peace, harmony with oneself, silence again, so the dynamics gradually subside to pp.
Tonal plan.
The work is written in a parallel-alternating mode (E-minor – G-dur), which is determined by the content: minor sounds in the first part, which tells about the suffering of a person, major – in the second, which talks about God’s light that descended on the person praying .
At bars 25 and 40 there is a deviation in C major, which resulted from the sequence. The deviation gave the sound more solemnity.
Harmonic analysis.

III. Vocal and choral analysis
The range of the 4-voice work “In the Finest Hour” is expanded, which corresponds to its character.
Range:
Soprano: Tenor:

Alto: Bass:

Tessitura conditions are, in general, convenient for execution. All parts sing in their own range. Basically, the approach to the extreme notes of the range for sopranos and basses is carried out gradually, without jumps.

However, the bass part often contains fifths and octave leaps, which can be difficult to perform, so you need to study these places separately. For training, while chanting, it is recommended to sing exercises in fifths and octaves with retention on the top note.

In the soprano part, the approach to the climax on A of the second octave should not be difficult, since the approach to it is gradual and without jumps, it is sung on ff, which is convenient when singing high notes, and since this is the culmination of the work, it is elated sings easily.

System is an artistic and expressive category, and intonation shades of vocal sound are one of the means of musical expressiveness. Choir members must be educated and trained in such a way that they are able to quickly tune in to the tonality set by the choirmaster, and can sensitively respond to the need to raise, “sharpen”, or slightly lower, to adjust to the overall tone, tempo, rhythm, dynamics. For a good choir to sing unaccompanied, two conditions are important:
the need for preliminary tuning (setting the tone by the choirmaster);
the need for constant active vocal-auditory (intonation) control in singing by choir members and the conductor.

Melodic structure. In this work, all parties are full-fledged and have a number of common difficulties:
1) Descending singing of a major triad - there is a desire to sing the note lower than it is, therefore, when singing, it is necessary to create a feeling of closeness of each note and singing with inflation:

2) Singing one note for a long time can also lead to understatement, so you need to sing with a feeling of lifting. The same applies to singing several syllables on one note:

3) Performing downward second intonations (see example 12). As an exercise, you can use singing scales up and down tetrachords.

In the male choir parts separately, it may be difficult to sing the jumps from part 4 to part 8. Difficult parts should be taught separately; singing octaves is recommended as an exercise.

Harmonic structure. The work also encounters difficulties with
from the point of view of harmonic structure: changing keys (see example 14), harmonic and melodic mode (see example 9), prolonged chanting of one note with a closed mouth (see example 12).

Working on difficult areas requires special attention. Among the main techniques are:
1) Intonation “out of rhythm”, i.e. according to the conductor's hand, using fermatas on individual, difficult-to-build chords.
2) Singing solfeggio, per syllable, with the mouth closed, which helps to build the musical material in timbre.
3) Alternating intonation “to oneself” with intonation out loud, which contributes to the development of inner hearing.
Good order in the choir is the result of constant attention to it on the part of the conductor, proper vocal education of the singers, and the creation of an atmosphere of increased auditory control not only of intonation, but also of all means of musical expressiveness.

Metrorhythmic ensemble. There are no complex rhythmic patterns in the work. Throughout the entire piece, there are two rhythmic formulas that should not pose any difficulties for performance; the only possible thing is not listening to notes with a dot (especially in the second part due to the acceleration of the tempo), loss of pulsation on a long note:

Work on a metrorhythmic ensemble in a choir begins with developing in singers a sense of pulsation, alternating strong and weak beats, and then developing a sense of the ratio of durations. The formation of a metrical ensemble in a choir is closely related to the development in singers of the skills of simultaneously taking breath, starting to sing (introduction) and releasing the sound (ending), with mastering various meters and rhythmic groups.
The following techniques can be used when working on a metrhythmic ensemble:
1) Clapping the rhythmic pattern of vocal parts;
2) Pronouncing the musical text with rhythmic syllables;
3) Singing with tapping intralobar pulsation;
4) Solphing with division of the main metrorhythmic beat into smaller durations;
5) Singing at a slow tempo with fragmentation of the main metro-rhythmic beat, or at a fast pace - with enlargement of the metric beat.

Tempo ensemble. Tempo (from the Latin Tempus - time) is the speed of performance, expressed in the frequency of alternation of metric beats. Tempo determines the absolute speed of a piece, as opposed to the relative speed. This is an important means of expression in a choral work. Deviations from the correct tempo lead to distortion of the musical image and mood. When building a tempo ensemble in a work, the conductor must find the optimal speed of performance. The first part is sung calmly, the second with movement, the third also calmly and slowed down at the end. The choir needs to follow the conductor's hand so as not to diverge in tempo, this is especially important when changing tempos. And the conductor, therefore, needs to accurately show the speed of each tempo and the transition from one tempo to another.

Dynamic ensemble – balance in the strength of the voices within the party and consistency in the volume of the sound of the choral parts in the overall ensemble. The dynamics of this work are contrasting: from pp to ff. The dynamics of the first and third parts are no louder than mf. The climax, which takes place in the second part, is held at ff.
Each part should achieve a simultaneous climax and equivalent dynamic shades, in which none of the parts will stand out from the composition and will listen to the sound of the others. The tenuto in bar 16 must be taken into account. When singing on pp, you should avoid sluggish, toneless singing. Breathing should be active, diction should be clear and intelligible.

Timbre ensemble. The brightness of the choir's timbre colors depends both on the natural singing voices and on the vocal work carried out by the conductor. In a beginning choir, work on the timbre ensemble is aimed at eliminating timbre diversity in choral parts and creating holistic timbre combinations. The conductor should remember that this problem can be solved only if the parties develop one manner of forming the vocal sound.
The sound attack is soft, there is a light, barely perceptible beginning of singing, characterized by a soft approach of the vocal cords. When using a firm attack, the choirmaster must carefully monitor so that the singers do not have a moment of ligament closure, which is expressed by a tightness of the sound, acquiring an unpleasant guttural tone. The entire work requires richness, full timbre sound, in order to show the entire deep philosophical meaning of the work.

Diction ensemble. It is necessary to achieve clear, simultaneous, intelligible and, most importantly, meaningful pronunciation of a literary text.
The first technical task of the choir in working on diction is to develop the correct and simultaneous pronunciation of the words of the choral combination. It is necessary to comprehend the text: arrange it correctly logical stresses in phrases.
Diction
To achieve good diction you need:
1) Sing the syllable with a covered rounded sound;
2) Pronounce the endings of words clearly, without pushing or shouting them out. All consonants at the end of words are pronounced especially clearly and definitely (words: sorrow, wonderful, light, heaven).
3) Work on the pronunciation of whistling and hissing consonants; they need to be pronounced briefly and carefully (words: holy, light).
4) According to the rules, the ending in the word “God” will not be [g] or [k], but [x].
5) Join the last consonant with the first consonant of the next word.
In order to achieve dictionary clarity in the choir, it is necessary to expressively read the text of the choral work in the rhythm of the music, highlighting and processing difficult-to-pronounce phrases. It is useful to sing various tongue twisters as exercises.

Breath. Singing breathing plays a huge role in sound production. This piece uses chain breathing.
With chain breathing, the choir singers do not take at the same time, but sequentially one at a time. The use of chain breathing is that it is a collective skill that is based on the singers’ upbringing and sense of ensemble.
Basic rules of chain breathing:
1) Do not inhale at the same time as your neighbor sitting next to you;
2) Do not inhale at the junction of musical phrases, but only, if possible, within long notes;
3) Take your breath imperceptibly and quickly;
4) To merge into the general sound of the choir without a push with a soft attack, intonationally exactly “without approach”;
5) Listen sensitively to the singing of your neighbors and to the general sound of the choir;
Breathing should be light, but not shallow, as there is a danger of sounding sluggish and dull without support, which should be avoided.

IV. Performance analysis
The work of M. Zakis “In the Finest Hour” poses artistic tasks for conveying content to listeners.
To perform a piece requires not only absolute mastery of technical skills, but also a high vocal and general cultural level.
To reveal the holistic artistic image of a work, its content, it is necessary to consider the semantic points that need to be approached. The work clearly shows phrasing and dynamics, which most often includes movement towards the top of the phrase and a decline in development. This wave principle emphasizes the main word, the thought to which you need to come.
The top of the first wave occurs at bar 16. The monologue of the altos leads us to it. It is not for nothing that the author entrusted the words: “I carry all the pain of my soul, suffering and sorrow in prayer” to the violas. Their low, rich timbre is perfect for conveying to the listener all the pain of a person. And the choir, supporting them with closed-mouth singing, creates intimacy and emphasizes the depth of the prayer’s torment. Then, like a cry from the soul, the entire choir picks up the singing of the altos and the climax of the first part sounds. To make the climax more dramatic, small seconds, an octave jump in the bass, a high tessitura for tenors and accents on each syllable in the word “suffering” are used:

After the climax, the intensity subsides, but the tension remains and the sadness does not go away, only becoming a little lighter due to consonance and melodic harmony.

The entire second part strives for the culmination of the work. This is expressed in tempo, tessitura, dynamic shift and expansion of the score. In bars 32-35, the soprano is already soloing, which is also justified: their high, bright voice is associated with spiritual purity, grace, and the choir seems to show the path where the soul is moving.

In bars 42-43, the long-awaited climax of the work comes, because throughout the second part the music was striving towards them, the tension was growing, but not negative, but precisely the expectation of God's light, which is about to be shed on those praying. It has everything: high tessitura of the entire choir, dynamic explosion, and beautiful words.

The emotional intensity of this climax is so strong that it can lead to forcing. This work does not accept shouting, there are no passions, here it is sung about high spiritual uplift. The soul does not scream to God - it asks. For a greater sensory understanding of the climax, it is recommended to sing it in pp, as was often used by Rachmaninov, the so-called “quiet climax.” This will make the performers feel the trembling of the soul during prayer, and they will no longer have the desire to force the sound. Having sung, in this way, you need to ask to remember the feeling and, when singing on ff, reproduce it.
The conductor must show these climaxes emotionally, vividly and prominently. An important task faces the conductor in showing the content through the conductor's gesture. The culture of sound formation should correspond to the mood and reflect sublimity. Therefore, the gesture should be smooth and soft. The shape of the brush should remain covered, “dome-shaped,” which indicates a covered, academically high position of the sound.
Legato techniques are performed using a soft, “singing” hand, similar to the bow of a string instrument, which allows you to combine a phrase and perform changes in harmonic consonances in one wide breath. Depending on the nature of the work, the dynamics, changes will be observed within the legato gesture. Light legato on p and pp is carried out with a gesture of small amplitude, as if with a “weightless” hand. On f, on the contrary, it is wide and energetic.
To create a bright artistic image during a performance, the conductor needs to be very precise in his gestures: accurately show the entry of choral voices, the release of sound, breathing, and accurately and expressively convey all dynamic shades. The gesture should be neat, clear, collected. Particular clarity should be present in the shade pp. The conductor's hand should also reflect the melodic pattern of the parts.
For active and good breathing of the participants of the choral group, preparedness and clarity of introductions and releases are required, which is achieved by understanding the phrasing, compositional structure and understandable aftertaste. The role of afteracts here is especially great - in particular, in accurately showing the entry of voices, as well as at the end of phrases with consonant sounds.
It is important for the conductor to determine the role of each voice in the overall choral texture. In general choral sonority there is no division into any solo part, only in some moments it is necessary to give the opportunity to a specific part to sound so that it is not drowned out by others.
Important in execution is correct breathing and sound attack. In this work, an economical and uniform exhalation should be used. When performing high sounds in the soprano part, it is necessary to spend the least amount of breath. Otherwise the sound will be harsh and loud. The sound attack should be soft.
If you organize the work correctly, then the main performing principle - integrity, continuity of movement - will be achieved with the greatest success.
When starting to learn compositions with a choir, first of all, the performers need to talk about the theme and range of images embodied in this work. It is necessary to introduce them to both the author of the words and the author of the music. Then it is recommended to play the entire score on the piano, thereby introducing the performers to specific musical material. To achieve artistic performance of a work, it is necessary, first of all, the attitude of the singers themselves to this composition. Understanding and penetration into its content will contribute to the expressiveness of the performance.
The conductor plays a huge role in the work on the work - he is the main performer. Every sound, every phrase, every word, the general mood in the work must be promptly suggested to the choir with your gesture and facial expressions.
Before starting to work with the choir, the conductor independently studies the work, “bears” it, and develops a conducting gesture that reflects the musical intent of the work. When you start learning this composition, you need to work with the team separately on each part. It is necessary to solmize, and then solfegge the voices based on pulsation, to work on the purity of intonation in particularly problematic areas in terms of vocal technique, as well as rhythm. If in each part separately the sound of the unison in the intonation, timbre, and rhythmic ensemble corresponds to the conductor’s plan, you can begin to work on the ensemble, the formation in a holistic choral sound. The next stage of work is learning with a literary text. Pay attention to difficulties in subtext, work on competent diction (according to all the previously mentioned laws of vocal pronunciation of the text). It is also necessary to do phrasing, take into account agogy, tempo changes, comprehend the nature of the work, expressively perform each musical thought and the entire composition as a whole in accordance with the conductor’s gesture.
The problem of the relationship between the artistic and technical elements in choral performance occupies an important place in the work on a choral work. Many choirmasters believe that the artistic period in work should begin after technical difficulties have been overcome: first one should learn the notes, and then work on artistic finishing. It is not right. The most correct and effective method of work will be in which the conductor, learning, for example, a part with violas, gradually brings it closer to a character that is close, according to the composer’s plan, to a concert performance. The main thing is that when working on vocal and choral technique, the conductor must see one goal in front of him - a masterful disclosure of the ideological and artistic essence of the work and connect the immediate technical tasks with this goal.
Only by achieving coherence of the ensemble and meaningful performance can the content of the work be truthfully and fully conveyed to the listener.
Thus, the performance of this choral work requires both the conductor and the choral group to have a high musical and aesthetic culture, flexibility of sensitivity based on professional skills and choral technique.

Conclusion
In the work of M. Zakis “At the Finest Hour”, written for a mixed 4-voice choir a capella, the skill of the composer was revealed, who was able not only to create a composition harmonious in form and rich in content based on small poetic lines, but was also able to amazingly subtly penetrate into content of the literary text. The content of the musical material follows directly from the content of the poetic source.
Simplicity and clarity of presentation, combined with the masterful use of a variety of vocal and choral performing means, complement the sincere warmth of the artistic image and the expressiveness of the musical language.
Learning works of this type enriches and develops the musical horizons of performers and listeners. Overcoming various vocal and choral difficulties in the process of working on a piece improves professional skills and helps to acquire many skills necessary for further improvement.
The choral group that has chosen this work for learning and performing must have significant vocal and choral culture and great emotionality.
The ideal conditions for conveying artistic content and the idea of ​​composition are high musical, aesthetic and universal culture, musicality in the broad sense of the concept, sensitivity to artistic images and the conductor’s interpretation, his gestures and facial expressions.
It is also necessary for the conductor to strive to achieve from the group the correct standard of choral sound, which he ultimately wants to achieve. The ability of the artistic director to properly organize all the singing activities of the group is very important.

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Choral score analysis plan

General information about the work: its exact and detailed title. Year of creation. Information about the authors of music and text. Type of choral work (chorus a "sarella or with accompaniment). Choral genre (miniature, large-form choir, arrangement, arrangement, part of an oratorio, cantatas, suites, opera chorus, choral scene, etc.). If the analyzed work is part of a larger composition , the remaining parts should be briefly described in order to have an idea of general content works (composition of performers, number and names of parts).

Brief information about the composer's work. Years of life. General characteristics of creativity. Major works. A more detailed description of choral creativity.

Literary text

Presentation of a literary text (write out all the text used in this work).

The content of a literary text, its theme, idea. Images, form of presentation, size (number of stanzas, couplets, etc.). Comparison of the text used to create the choral work with the literary original, the changes that occurred and their reasons. If the text used by the composer is a fragment literary work(poems, poems, etc.), it is necessary to give a general description of the entire work. The relationship between literary text and music. The degree of correspondence between the content of a literary text and the content of music and the form of a choral work. The relationship between the structure of a literary text and the form of a choral work.

2. Music-theoretical analysis

Determination of the form of the work: one-part (period), verse, verse-variation, two-part (simple, complex), three-part (simple, complex), strophic, variations, rondo, sonata, cycle. Features of the composer’s use of traditional form when translating his idea into a given work (size and ratio of parts, etc.).

Characteristics of the theme melody: character, intonation, rhythmic and modal structural features. Distribution of musical and thematic material between choral parts.

Tempo, its deviations, determination of the semantic content of tempo, meter rhythm and size of the work. Analysis of tempo deviations.

Analysis of the modal tonal features of the work, characteristics of the tonal plan (main tonality, deviations, modulations), modal features (the composer’s use of folk diatonic modes or characteristic modal turns).

Harmonic Analysis Bar Chart: Detailed analysis of harmony with common function notation and name of each chord.

Characteristics of choral texture (harmonic, homophonic-harmonic, polyphonic, mixed); its relationship with the content of the work and the expressive means of the choir.

The role and significance of accompaniment (for accompanied works).

choral literary modal tonal vocal

3. Vocal and choral analysis

Determination of the type, type and composition of the choir, the ranges of choral parts and the choir as a whole (music examples), tessitura, the degree of vocal load of the choir and individual choral parts, the role of various parts in the work (performance of the main melodic material, supporting voices, accompaniment).

Techniques of choral presentation (tutti, use of incomplete choral groups, divisi, comparison, gradual inclusion, duplication, crossing, coloristic techniques).

Identification of the specifics of singing breathing (in phrases, chain), the nature of sound (“light”, “dark”, etc.), techniques of sound science (legato, non legato, marcato, staccato).

Analysis of the features of the choral structure. (Identification of the most difficult moments in terms of intonation, taking into account the patterns of melodic (horizontal) and harmonic (vertical) structure. Brief description of methodological techniques for overcoming intonation difficulties.

Analysis of types and types of ensemble (general and particular, natural - artificial, melodic, dynamic, rhythmic, diction, timbre, tempo).

Analysis of the dictionary features of the work. Based on literary text analysis short description methods of working on diction (taking into account subtext, textless singing, etc.).

Determining the number of members of the choir required to perform a given work (large, small, medium) and its qualifications (professional, experienced, amateur, beginner).

4. Performance analysis

comparisons of literary and musical texts based on the relationship between musical and literary phrases;

identifying the role and significance of the musical expressive means used by the composer (tempo, agogics, dynamics, phrasing); determination of the general dynamic and semantic climax (the relationship of the general and particular climaxes in the work).

Identification of specific performing difficulties in connection with the peculiarities of the genre and form of the work (choral miniature, large vocal-instrumental form, verse, reprise, etc.). Determination of the characteristic (for a given work) basic performance principle (integrity, continuity of development, episodicity, detail, periodicity, etc.).

Selection and description of conducting techniques necessary for a choirmaster to practical work with the choir, during a concert performance, determining the nature of the conductor’s gesture (outtakes to the introduction, withdrawal; techniques for performing crushed parts, fermata, breathing; etc.).

Statement of your own performance plan (interpretation of the work).

Determination of the most important and time-consuming moments in the work that require special attention during the rehearsal process, methods of effective work on them (solfege, transposition, etc.).

Conclusion

Identification of some stylistic features of the composer’s work in a given work (using the example of comparing one work with his other works).

The presence of different editions of the score, the reasons for their occurrence and their comparative analysis.

Comparison of the analyzed work with the works of other authors written on the same text.

Impressions from a possible (live) listening to him.

Comparison of different performance interpretations.

Determining your own attitude to the work being studied.

5. General requirements for the preparation of a written analysis of a choral work

The work is printed on one side of a sheet of white A4 paper, according to the relevant standard, with one and a half to two line spacing. The left margin is 30 mm, the right margin is 10 mm, the top margin is 15 mm, and the bottom margin is 20 mm. Text 14 font Times New Roman.

The total volume of the course analysis should be at least 15-20 pages of printed text, the thesis - 25 pages. Most of the work is occupied by vocal and choral analysis, but all parts should be approximately proportional to each other. It is necessary to use musical examples in the text on music paper with ink (black paste only), which is then inserted (pasted) as the text of the work is presented.

All musical examples are numbered with Arabic numerals throughout the text. Above the upper right corner of the examples, place the inscription “Example...” indicating the serial number without the “No” sign before the number and without a dot after it.

The entire text of the work is divided into chapters. The headings of the structural parts of the work are formatted with capital letter, 16 in Times New Roman font and highlighted in bold italics: “General information about the work and its authors”, “Musical theoretical analysis”, “Vocal and choral analysis”, “Performing analysis”, “Conclusion”, “List of sources used”, "Applications". Each new chapter begins on a new page.

Page numbering begins on page 3 and is placed at the bottom center of each page. The title page and contents are not numbered.

The analysis of a choral work should begin with the title page.

Following the title page, the subsequent text must be titled. The table of contents (table of contents) should be placed on the second page.

The list of sources used should be built according to the alphabetical principle and consist of 15 - 25 independently studied works (informational, reference, theoretical and methodological in nature).

Note appendixes are placed after the list of sources used. Each application should start on a new page. Applications are not included in the scope of work.

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1. The purpose of analyzing a choral work.

2. Holistic analysis (choral studies).

3. Vocal-intonation analysis (methodological).

4. Brief oral summary.

1. The purpose of analyzing a choral work

The main goal of analyzing a choral work is to teach future choirmasters to work competently and purposefully on the repertoire.

The analysis of a choral work can be brief (schematic) in the form of an oral annotation and detailed in the form of a written analysis. But in any case, it should reveal the answer to the following main questions:

2. What artistic means(tempo, dynamics, agogics, timbre, articulatory phrasing techniques, etc.) you can most convincingly and vividly convey this content, embodying it in real sound.

3. What conducting means and techniques (the role of the hand, elbow, shoulder, the size and volume of the gesture, methods of conveying the logical connection between phrases, approach to the climax, etc.) can be used to realize the performing artistic image?

4. What vocal, rhythmic, intonation, ensemble and other technical difficulties may arise for the conductor in the process of realizing the ideal performance concept?

The answers to the questions posed, according to V.L. Zhivov, will help solve the main task of the performing musician - to convey to the listener all the richness and significance of the content of the work.

2. Holistic analysis (choral studies)

In Russian musicology, “holistic” (complex) analysis is generally accepted. Its most important principles are:

The study of this work as a unique phenomenon should not be carried out independently, but in close connection with the entire work of the composer;

Consideration of the means of expressiveness of a musical work in unity with the content;

Analysis of individual components of a form not in isolation, but in interaction, in context with the whole.

According to many outstanding musician teachers, the main goal of holistic analysis is to more fully comprehend the image of a work.

Holistic analysis includes musical - theoretical and vocal-choral analysis with a more detailed and detailed description of all the features of the language of presentation; the nature of the use of expressive means. As you know, a work for choir is created on the basis of a certain poetic image. The composer concretizes or rethinks it, highlighting in it the facets that seem to him the most important and closest to his individuality, introduces pitch, meter-rhythmic, dynamic, harmonic, timbre coloring into it and, therefore, creates a largely new artistic image.

A choral work as a phenomenon of art combines musical and poetic sides. This is its peculiarity and a certain difficulty for analysis.

Observations show that in pedagogical practice, insufficient attention is paid to the verbal text and poetic image, which together with music constitute a single artistic organism, while the figurative vision of the poem, understanding the logic of the means of embodying its idea, as well as rhythmic and stylistic features leads to a more complete emotional and intellectual awareness of the work.

When analyzing the form of a choral work, novice conductors, for the most part, usually do not pay attention to the verbal text. Based on the laws of the structure of instrumental music, they make mistakes in determining the structure of choral works, which manifest themselves in an incorrect interpretation of the strophic form, an extended or freely developed period, a modified two- or three-part form, and combined forms. Attention to this aspect of the analysis would help to reduce the number of structural inaccuracies, and also contribute to achieving greater integrity in the interpretation of poetic and musical content.

The unique originality of the analysis is manifested in those artistic and aesthetic assessments and in the nature of the generalizations that the analyzer makes, revealing the artistic image and idea of ​​the work in the process of studying it.

In this regard, the question of the perception of an artistic (in particular musical) work and as a special type of it - artistic perception, is raised extremely acutely, because the perception of art is associated with diverse acts of thinking and experiencing. Every large and sufficiently significant work of art carries a great semantic load: it has an emotional impact on the listener, evokes in him a whole world of thoughts, experiences and aspirations associated with the system of his moral views, aesthetic views, with his attitude to life, with his worldview.

For perception, such qualities of a musician as a developed musical ear and taste, intonation sensitivity, clarity of ideas, and emotional responsiveness are important.

In our opinion, the plan for analyzing the choral score of G. A. Dmitrevsky, given by him in the book “Chorology and Choir Management”, fully meets the criteria for a holistic analysis:

2. Analysis of music and musical theoretical analysis of the work. Musical form, musical themes, tonal plan, meter, rhythm, tempos (agogics), dynamics. Intervalics, harmony, voice guidance, musical phrase in connection with a phrase in a literary text, etc.

3. Vocal-choral analysis. Type and type of choir - homogeneous, mixed, how many voices. Ensemble. Structure (intonation), range of each part, degree of use of each part and tessitura, breathing features, character of sound, vocality of the text and features of diction, etc.

4. Plan of artistic execution. Musical phrasing and connection between text and music. Conducting techniques.

5. Drawing up a plan for choir rehearsals and a method for conducting them.

3. Vocal-intonation analysis (methodological)

Analysis of the vocal and intonation features of the presentation is the central section in the written annotation, because this is valuable and significant, first of all, from the point of view of the practical experience of the conductor-choirmaster, which accumulates and develops in the process of such thoughtful and purposeful development of the vocal features of the presentation and the choral sound of the score as a whole. .

A qualified choir conductor, writes L. G. Archazhnikova, needs musical-theoretical and vocal-choral knowledge of the features of a choral score, since they help form a model of its internal intonation, find options for flexible variations of techniques for controlling choral sound, new, non-standard, effective means solving performance problems. To develop these choirmaster skills, it is necessary to constantly develop the ability to develop musical and auditory ideas about choral sonority: textural, genre, structural-compositional, nuanced, etc.

An excellent example of a plan for vocal intonation analysis was developed for his students by N. M. Danilin:

2. Text and its ideological content.

3. Main key.

4. Range, registers and tessitura of individual choral parts. Voicing, doubling, timbre. Non-ensemble chords and how to make them ensemble chords.

5. The nature and degree of difficulty in the melodies of each voice in terms of rhythmic and intervallic content. Horizontal-melodic and vertical-harmonic relationship of voices. Methods of their execution.

6. Harmony (the degree of its complexity and modulation plan). Marking difficult places, both in the score and in choral parts.

7. Harmonic and polyphonic styles from the point of view of performing conditions.

8. Type of choir (homogeneous, mixed). Choral work with and without accompaniment. Setting the tone using a tuning fork and modulating by voice.

9. Meter (simple, complex, complex-asymmetrical).

10. Tempo (constant, changing, complicated by additional musical terms, agogics).

11. The form of the play as a whole.

12.Phrasing (division of large and small sections of the play and their logical cohesion). Dynamics. Diction. Types of breathing in choral singing (short phrases divided by pauses; phrases not divided by pauses; cantilena; long phrases without pauses; continuous fluidity of the piece). Identification of main and secondary topics. Inserting numbers and breathing signs both in the score and in the choral parts.

13.Style of the play. Lively emotional performance of the play as a whole and its individual moments. The connection between the text and the music and the general nature of the artistic concept.

14.Playing at the piano at the tempo of a choral score with the singing of individual choral voices.

15. Conducting the play by heart (the conductor's eyes should be on the choir all the time).

4. Brief oral summary

To activate and develop the activity of intellect and feeling in the process of analyzing a choral work as part of classes at the choral conducting box office and course theoretical basis conducting techniques, we can offer the following questions-tasks, which can be considered as a plan for an oral annotation:

Briefly analyze the era in which the author of the poetic text lived, expand and deepen the knowledge of his work;

Determine the genre, structural and artistic features of the poem, note their influence on the emotional and ideological essence of the image (if this is part of a more difficult work, then in order to correctly understand the content of the literary text, get acquainted with the original in its entirety);

Expand the available information about the composer’s work, the direction and style of his writing, the era in which he lived and created his works. Briefly analyze 2-3 other works by the same composer;

Analyze the musical fabric of the work; reveal the means of expressiveness (melody, harmony, metrhythm, dynamics, agogics, modem-tonal plan, form, structure), which help to identify the image of the composition, and note their emotional load. When determining the form of a choral composition, proceed not only from the musical, but also from the poetic originality of the score;

Analyze the vocal and choral features of the work (composition of the choir, type of presentation of the score, nature of sound engineering, tessitura, dynamic, and timbre relationships of choral scores, phrasing, breathing, ranges, vocal load of voices, features of diction). Pay attention to the logic of the development of phrases, the climax and expressive means that highlight it, identify their role in revealing the content;

Summarize your impressions of the work, show the originality of the composer’s refraction of the literary image, the musical enrichment of its internal meaning;

Try to remember whether this literary text was embodied in the works of other composers. Briefly note the difference in interpretations;

Draw up a performance plan for the work.

Analysis criteria:

2. The degree of attention to the verbal text as a poetic image.

3. Comprehensive consideration of the expressive means of the work and their connection with the ideological and emotional content of the choir.

4. The ability to justify your performing interpretation.

From the above plans it is clear that, regardless of the type, the analysis of a vocal-choral work should be carried out in several stages: from initial acquaintance with the work to the highest degree of its study, when the analysis of the parts moves into the stage of synthesis and deep generalization.

1. Archazhnikova L. G. Profession: teacher music. M.: Pedagogy, 1984.

2. Dmitrievsky G. Choral studies and choir management. Elementary course. 3rd ed. corr. St. Petersburg: Lan, 2007.

3. Zhivov V.L. Choral performance: Theory. Methodology. Practice. M.: VLADOS, 2003.

4. In memory of N. M. Danilin. Collection of articles / Compiled-ed. A. Naumov - M.: Sov. Composer, 1986.

Self-test questions:

1. Why do music teachers need skills in analyzing choral works?

2. Compare the analysis plans of G. A. Dmitrevsky and N. M. Danilin given in the text and answer the question: What are the differences between choral and methodological analysis of a choral work?

3. Which type of analysis is most appropriate when working on the repertoire of music lessons and why?

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