ABOUT TEACHING Singing FW LYTVYN
After 6 weeks, I followed her moved in 2 months from Monte Carlo to Paris.
the second time in life, I went to see her after 11 years in Soviet times "on a business trip at his own expense in 1925, when she sent me a visa, and I had the opportunity to engage in with her in Paris for several months.
Since the story of Felii Litwin as a pedagogue, can not repeat the revocation of her personal human qualities. Unusually affable, friendly, witty, she was able with the first lesson to create and maintain the classroom quiet and joyful atmosphere, complete Her interest in teaching, the individual student, to his good and bad qualities. No arrogance, his tone of superiority, or irritation impatience.
view of the accuracy and clarity of statements Felii Litvin about her vocal principles on pages released its benefits «Exercices et conseils » , the author of these lines do not consider it necessary to repeat her words, providing the reader to draw conclusions by analyzing its exercise. Translated by me in accuracy. The author believes more impressive and useful to tell in his comments, as virtually printed statements of the great singers used it in class, she gave student and demanded from him in return.
First and foremost, with what came across in the classroom student, was: simplicity and clarity of its provisions, the teacher and guidance as well as the demand for freedom and naturalness in singing embodiment of these requirements, a student. There are no tricks in the words of the teacher and the absolute freedom and ease the process of singing the student. She laughed and told the teachers, tends to impress the student complex and spectacular guidance and approval, that the process of singing a fog and unclear, and the secret of his only he is open and known. "Sela doit etre complique pour le professeur, mais facile pour I'eleve » («It must be difficult for professors, but it is easy for a student) - it was her favorite acuity in the classroom, borrowed it from some forgotten its source. After listening to a student on the first lesson, and proceeding to the exercises, she immediately called for calm and free, not loud, comfortable for the singer sound, certainly expresses the joy of life and fun to sing. "Think how lucky to have a voice, this wonderful gift of nature »(« Pensez? Quelle chance d'avoir une voix, ce merveilleux don de la nature »).
Thus, with the first, most primitive exercises she has invested the music content (even if it were an ordinary triad) and immediately introduces the student in terms of the principles of his method: first, not to seek the maximum result and achieve a minimum energy in the singing, but with the proviso that all of this at least was for the benefit of sound - a light, pleasant, joyful and vibrant. For this complete freedom of the entire apparatus of singing, free, moving the lower ribs, full but not excessive, rapid, like sobbing, breath, "if you want the last moment quickly objected to someone "; (automatically and effortlessly pick up the lower abdomen), easy to conceal as" secular yawn, "absolving pharynx voltage, and a joyful pleasant face. Sound pull "themselves", it is easy, but clearly pronouncing words, very little, but vigorously moving the tongue and lips, with free mobile sip. Exercises are usually started from the middle of a small voice popevkoy for 3 or 5 notes down (for soprano from about dominant to the tonic phase majeure gamma).
As preparation for this free sound to the destruction of a hated her tense sound were instructed to relax not only the muscles of the face, neck and jaw, but the whole body, for that at the voltage needed to take a few steps across the room or make a curtsy. Usually, especially for beginners learning singing in the first few lessons applied gymnastics articulatory apparatus, that is, the lower jaw and throat, it was necessary to master an ability to "show throat doctor. " Litwin claimed never one tool in the hands of physicians (except sometimes the laryngoscope) is not touched her throat, her throat to help her show the doctor's throat in a variety of human capabilities. "The singer must own the motions of their muscles throat as easily as a pianist has every fingers of both hands. " And indeed, after 2-3 lessons and lower jaw and mouth took on freedom of movement and submitted to the singer. Then, these exercises are no longer renewed, both have achieved their goal - the complete liberation of articulation apparatus singer.
Gymnastics included the following exercise: with a mirror in his hand be have been achieved without the sound of complete freedom, and then the subordination of its shaft movements of the lower jaw, tongue, velum to perform their assigned lung free movements, mentally keeping score and rhythm. When completely calm, not tense face, no wrinkles on his forehead, no clamping of breath, it was necessary to make the move language in different directions and the lower jaw up and down. Movement of the jaw is not chaotic, but in the system and for a specific plan:
1) 3 identical movements of the lower jaw down necessarily at a fixed upper jaw, to recognize and verify the sense of freely open your mouth, not in any way not to move lower jaw forward, reverse, as if even pull it back, to realize a sense of the upper jaw forward of more than the lower. When these movements and, more importantly, These sensations are learned, the same lesson to add after 3 moves down one movement of the lower jaw up and down again. Then he had to repeat several once all these movements without a mirror and realize that 3 move down smaller than a single jaw movement upwards, as the entire distance between the jaws when opening mouth had split it into 3 parts (by lowering the jaw), then in half (when moving the jaw upward than three parts and two).
2) 2-e Gymnastic Exercise consisted of movements of the tongue, but also with the exact observance of all rules: If the fixed jaw, not pushing it forward, keep your mouth open, lips effortlessly and easily, free to make movement the tongue up and down, only one root of the tongue, without moving velum and the lower jaw. The diaphragm and rib motion language should be fixed, but free; avoid simultaneous reflex jerks. Such movements do 4-5 times without break, no clamping of breath.
3) The third gymnastic exercise consisted of movements velum on the same principle as the movement of the tongue, that is, when the fixed jaw, not pushing it forward, to keep the mandible still bowed, stress-free, and do move up one only velum, trying not to move at the same time the root language. The diaphragm and ribs are fixed, without jolting. Such movements do the same 5.4 without interruption, not holding my breath.
whole system of gymnastic exercises were put student not in terms of singing lessons, but in terms of some kind of physical training, indicating that in the gym motion made energetically and actively, but without any tension, while singing the same words of the motion made clear, but at a minimum of energy (unlike Gymnastics of the same movements in the ballet-plastic). The main objective - liberation from muscle tension.
Asked sad and tragic emotions, where necessary tense face, she humorously said that in those cases
voltage appears "on the ability to sing, it is necessary for the paint and the sound has nothing to do has a voltage
singer who can not sing (a force d'avoir bienetudie le chant »).
After the release of the muscles (surely the whole body) begins work on the sound, the search joyful, quietly, free, and tender sound. Typically, these searches are sound starts on short notes, rather than lingering. "Why pull the note, if its place is not yet fully found, "says V. Feliya. Now the movement of articulation device, keeping active, have been bgg plastic, barely visible to the viewer, but the full meaning of the word for a singer. It was necessary to clearly find the position of the first sheet, and then maintain this position in the downward movement; Lytvyn believes that maintaining a high position in the downward movement range is achieved rather than on the uplink. To find this position, she sought out voice on this note, vowel, best-sounding, which recommended that cause a sensation that the sound does not come "through a mask, and higher "In the eye» («chantez dans les yeux!»). The main principle consists in repeating a well-udavshegosya exercise, rather than repeating the failed sound. On failure she just invented a new move in a chord, changed the letter. Reception teacher "sing a note to 10 times, get on the 11 th time bgg can get" - it was a deeply strange. We know now that from a scientific point of view, such a method is bad, because he claims the singer in the wrong conditioned reflex; Feliya V. immediately after failure began to look for a new reflex, a new relationship.
material for the exercises gradually complicated, sung scale, and any music course had sing the song as "that is not a formal sound for sound, but for the sake of" pleasure to sing. " This is avoided and mournfully monotonous sound, sound, that looks like a "tool" that it is considered an entry depleting the wealth of timbres of the human voice, an element necessary only in rare cases requirements of art plan. V. Feliya never used vocalize, they generally do not satisfy the terms of the quality of music. Except that she believed that singing vocalize, pursuing only formally "correct" sound, making the voice of cold («les vocalises rendent la voir froide»). That the voice was not cold, it filled the exercise sense. These words were usually happy, "then do not come to mind to make a tense face and wrinkled his forehead" - she said. Generally Feliya V. found it necessary to act on the sound of not only technical guidance but also through the psyche and emotions of the singer, accompanying exercise talk about the content of the music on the corresponding verbal phrase, which she immediately varied in all vowel sounds: "I love to sing, we all love sing, much love to sing, like we all sing, we all love to sing "(Somme j'aime le chant; c'est ma vie - le chant; ah, chanter - c'est vivre, vivre enchantant; oublier les larmes» ;).
cantilena it from the first lesson has attached great importance and to give the feel cantilena physically, she again worked through the imagination of singing. I remember that cantilenas, twang she sought from a beginner student through the thought of a hot climate, when not even want to go: to make the student to pull the sound, she gave a musical phrase the words: «Oh, comme il fait chaud » («very hot in here"). This phrase is sung on one note and then those same words on the five notes from the top down (do, si, la, sol, fa). As one of the technical techniques to feel encouraged to sing a high position with the mouth closed, thinking the sound of "y" or "m". If she heard that when singing a descending scale lost the high position on the lower notes, it is recommended that the first 3-4 notes to sing with your mouth open, and the last four and closed. Generally showed Feliya V. great ingenuity on the indications and combination exercises. If one vowel sound failed, she began the next exercise with him. Often it is applied чередование всех гласных звуков, добиваясь одинакового звучания на любом из них. «Pas de voyelles favorites, - говорила она - никаких излюбленных гласных, надо одинаково технически love all the vowels, the only difference in the emotions and, consequently, in color, but not in the position of sound. " It is the conviction motivated his position: if the singer must sing, written in couplet form, in various verses one and the same note in the text falls into different vowels and the result is one verse will sound better and some worse. Therefore, regardless of the vowel sound of his voice should sound the same, freely; bad sound of a vowel sound would interfere with the expressiveness, making it less bright. V. Feliya even thinks that singing works in the couplet form is useful in order to achieve full automation of sound production in different vowels. From this perspective, useful and singing in foreign languages. Except addition, the same vowel sound at all gives great relief in the study of parties, since then the singer will not depend on the text, mainly for him to be music and text content, but not the choice of vowels.
As regards the principle of breath, the Lytvyn does not consider it the primary or sole factor in sound production ("Be able to breathe - hence be able to sing"), but only one of its component parts are equally important as the word, that is resonating. She acknowledged the mixed type of respiration, lower-edge, GROUND, breathe free, deep but without a surplus is always energetic, but easy, and the figure is not drawn into the corset (which also recommended, and the IP Pryanishnikov). Explaining the principle of breath, it has no singing forced to recognize its different types, it should be in the singing of the function (movement of the lower edges free diaphragm), and unnecessary features (elevation of shoulders, the total voltage and so on) to consciously avoid them. Breath must be taken quickly, quietly, small amount and at the last moment before the sound, like a sob, to add breath, as if suddenly want to suspend someone in conversation. "What do you feel about it? Abdomen tightened? Repeat, review!. Learning that "tightened", she adds: "but lightly, without stress, as always, and breathe, and then strictly followed to the singer this way of breathing, and enjoyed, and the sound and controlled way, and support respiration. "Do not spend a lot of air, pull your breath for himself, keep him in the ribs, back, picks up breathing fast interrupt someone's speech." "Too a lot of breath, take less, but vigorously, just as much need for this amount of music, save, do not let go. Easier, simpler, less energy; and now it's bad, sluggish, too little energy! Develops a sense of how much to take breath on this music, it's all transparent to the listener! ". These are had her temperamental guidance.
Attack sound, it prescribes a clear, definite, no limp, no entrance, but by no means exaggerated firm. Of course, she did not recognize the "coup de glotte», stroke of the glottis.
great importance it attached a consonant, has developed a student crisp movements of the lips, tongue, but without
exaggeration, "is elegant, without a grimace." With a poetic verse in vain, it is his first methodical work
«Vocal learning consonants" (1921, «Etude vocale desconsonnes») wrote on their own texts with specially selected
consonants. This - couplets are small but full of poetic meaning.
One of the basic principles of its schools and its own manner of singing was a negative vote on the division of the registers in those times was during the French style fashion and a favorite, and singers and audience. As we know, the famous French singer Marie Delna (Marie separately) at the peak of career, lost her voice, as in the pursuit the success of the singing on one breast cavity above the fracture, the income of this manner of giving sound to "la" and «si» (see «Liryca» № 16, July-August 1932). Litwin called this manner «poitriner», that is "to put pressure on his chest and vigorously eradicated it from their students. She demanded that the entire voice to both the cavity and did not allow playing low notes without the participation of the upper cavity, and the top notes - without a bottom. She has given every lesson a lot of attention to careful alignment to vote at the same position of the upper, medium and lower ranks. His own performing it argued the merits of this manner of sound production, and for this and treated her French singer. The book "Exercises and Tips" common indication: to start the bottom note to the highest position (№ № 5,11,16,35,38,56).
0 comments:
Post a Comment