Choral reading definition
Choral Reading | Classroom Strategies
Choral reading is reading aloud in unison with a whole class or group of students. Choral reading helps build students' fluency, self-confidence, and motivation. Because students are reading aloud together, students who may ordinarily feel self-conscious or nervous about reading aloud have built-in support.
| When to use: | Before reading | During reading | After reading |
| How to use: | Individually | With small groups | Whole class setting |
More fluency strategies
Why use choral reading?
- It can provide less skilled readers the opportunity to practice and receive support before being required to read on their own.
- It provides a model for fluent reading as students listen.
- It helps improve the ability to read sight words.
How to use choral reading
- Choose a book or passage that works well for reading aloud as a group:
- Patterned or predictable (for beginning readers)
- Not too long
- At the independent reading level of most students
- Provide each student a copy of the text so they may follow along.
(Note: You may wish to use an overhead projector or place students at a computer monitor with the text on the screen)
- Read the passage or story aloud and model fluent reading for the students.
- Ask the students to use a marker or finger to follow along with the text as they read.
- Reread the passage and have all students in the group read the story or passage aloud in unison.
Choral Reading: Grade 1
Go inside Carmen Tisdale's first grade classroom in Columbia, South Carolina to observe how Carmen models fluent expressive reading using text cues as her students follow the text silently. Then, the kids read aloud together. Joanne Meier, our research director, introduces the strategy and reminds teachers to be sure to carefully match the text to your students' reading level and to check in to be sure the kids are understanding what they are reading aloud.
Choral Reading: Grade 3
A third grade small group engages in a choral reading activity.
There are 4 students in this demonstration and they are reading the text, A Dream Schedule. (From the What Works Clearinghouse practice guide: Foundational skills to support reading for understanding in kindergarten through 3rd grade.)
Collect resources
Language Arts
This planning checklist for a choral reading lesson uses the poem “One Sister for Sale” by Shel Silverstein. See example >
This PDF includes dozens of poems for shared, choral, paired, and echo reading. See example >
The website below offers teachers several poetry options conducive to the Choral Reading strategy along with some interesting tips on reading and language development. See example >
The example of choral reading found on this site uses the children's book James and the Giant Peach.
See example >
Science
This lesson plan includes examples of choral reading activities that correspond to introductory science concepts. See example >
Social Studies
This website includes a script for the choral reading of the children's book Bringing the Rain to Kapiti Plain. See example >
Differentiated instruction
for second language learners, students of varying reading skill, and for younger learners
- Teachers may wish to pair students of varying abilities together and assign each student a different section of the passage to read.
See the research that supports this strategy
Hasbrouck, J. (2006). For Students Who Are Not Yet Fluent, Silent Reading Is Not the Best Use of Classroom Time. American Educator, Summer 2006, 30(2).
Texas Reading Initiative. (2007). Fluency: Instructional Guidelines and Student Activities.
Children's books to use with this strategy
Joyful Noise: Poems for Two Voices
By: Paul Fleischman
Genre: Poetry
Age Level: 9-12
Reading Level: Independent Reader
These poems introduce various insects and their lives; ideal for sharing aloud and for relating to informational books on insects.
Brown Bear, Brown Bear, What Do You See?
By: Bill Martin Jr
Age Level: 3-6
Reading Level: Beginning Reader
This title needs no introduction nor do its spin-offs like Baby Bear Baby Bear, What Do You See?, Panda Bear Panda Bear, What Do You See? or Polar Bear Polar Bear, What Do You Hear?
Autumnblings
By: Douglas Florian
Genre: Poetry
Age Level: 6-9
Reading Level: Independent Reader
Cheery watercolor illustrations combine with short, playful poems to evoke the changes that happen in the fall. It’s "Awe-Tumn" after all, when "…autumn leaves/Leave me in awe."
Mr. Popper's Penguins
By: Richard Atwater, Florence Atwater
Genre: Fiction
Age Level: 6-9
Reading Level: Independent Reader
When Admiral Drake sends a penguin named Captain Cook to the Popper family, Mr. Popper's dreams of seeing the world begin to come true. Humor abounds in this early Newbery Honor book as readers follow Mr.
Popper and his penguins to Antarctica.
You Read to Me, I'll Read to You: Very Short Stories to Read Together
By: Mary Ann Hoberman
Genre: Poetry
Age Level: 3-6
Reading Level: Beginning Reader
Rhyming tales written for two voices makes an ideal — and humorous — introduction to readers' theater. Well known fairy tales have been adapted, reorganized and reinvigorated with lively language and sprightly illustrations, worthy of many dramatizations.
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Choral Reading - Strategies for Students
What is Choral Reading?
Choral reading is a literacy technique that helps students build their fluency, self-confidence, and motivation in reading. During choral reading a student, or a group of students reads a passage together, with or without a teacher. Choral reading can be done individually, in small groups, or as a whole class. According to Reading Rockets (n.d.), there are three main reasons why choral reading is beneficial, and they include:
- It provides a model of fluency
- It improves sight word recognition
- It allows practice and support
Reading Rockets also mentions that teachers need to make sure the passage that they choose for choral reading is at the student’s reading level.
Therefore, the students fully comprehend what they are reading. Typically, when teachers choose choral reading passages the passages include some type of rhyme or rhythm. There are many different ways to do choral reading in a classroom, and here are some examples:
- Groups of students take turns reading different pages
- Everyone in the class reads the whole passage together
- Boys read lines 1-3, and girls read lines 4-6
- Teacher models how to read a sentence, then the students read that sentence together
According to Jennings, Caldwell, and Lerner (2014), “because students find choral reading enjoyable, they willingly practice the word recognition that helps them to give a polished performance” (p.213). If students enjoy choral reading they might have more motivation when they are reading, and this is very important for struggling readers and really any reader. Also, Jennings et al. mentions that "low-achieving readers enjoy this activity [choral reading] because it gives them the satisfaction of delivering a well-rehearsed, expressive rendition" (p.
213). Students who have difficulties with fluency can really benefit from choral reading, because it provides them with a model and practice.
Visual Representations
|
Above is an image of five really good books to choral read with younger students. These books include a nice rhythm or dialogue, and that is a necessary component in choral reading. In the "You Read to Me, I'll Read to You" books students will take turn reading different pages. In these books there is a lot of alliteration, rhyme, and repetition. | The video above is an example of how to do choral reading in a classroom with a small group. The video suggests that in order to have a successful choral read the passage should be at an appropriate reading level, it should contain rhythm or dialogue, and it should be relatively short. Each student should also have a copy of the text and track with their finger. |
Here is an image of a teacher choral reading with a small group of students. Each student has their own copy of the text and they are pointing while they are reading. It is likely that in this image that the students are just reading together, not with the teacher. |
Content Area Examples
Social Studies- To use coral reading in a social studies classroom, the content of the passage students are reading could be something that was written many years ago, for example. Students would chorally read similar to what they would do for a fictional text, but it would give the read more meaning because it could be about something that really happened.
Science- One possible way to do choral reading in a science class is for students to be divided up into groups of 3 or 4. Each group is given a different poem about birds and then they need to choral read that poem together.
The group or partners need to then research about the bird poem they received. Students could then chorally read their poem once again to the class and share the research that they found.
Language Arts- As mentioned before, for a language arts classroom, students read a passage or a poem together, or chorally. Students can read the entire passage together, or in parts. For younger elementary students the teacher could use the example of The Itsy Bitsy Spider, and students could switch off ever other line. Since most students are familiar with this rhyme and song, it will help students become even more fluent.
Want to learn more about how you can incorporate choral reading into different content areas?
Click on the links below to find out.
| Social Studies | Science | Language Arts |
Choral reading as a form of expressive reading
Choral reading as a form of expressive reading
Choral reading has become a practice Russian school for a long time.
More K.D. Ushinsky recommended it as a technique, helping to revitalize a weary and distracted class.
Choral (or polyphonic) reading is the most active, an effective and accessible form of teaching expressive reading at school. Choral process performance of poetic works contributes not only to the mastery of culture speech, developing a clear, expressive pronunciation, but also helps to form abilities and properties that are important in the overall development of the student's personality: memory, hearing, sense of rhythm, imagination, creativity, purposefulness, mutual assistance, a sense of comradeship.
The main task of choral reading is to overcome the vice of school learning by heart - cramming words, as well as developing in children the habit of working over the subtext with what numerous psychological research, provides a stronger memorization.
When teaching expressive reading, like any school subject, the language teacher of a mass school strives to to find such techniques that will help him to be involved in the general pedagogical process less capable or less diligent and attentive.
In this sense, choral reading is indispensable: it does not allow any of the students to remain passive.
More In addition, choral reading has a positive effect on correcting a number of speech deficiencies (patter, loudness, lethargy, etc.)
Students, according to age stages, have the opportunity to master a certain minimum of skills, knowledge and skills that determine the level of their execution. Based on this knowledge and skills, the teacher reveals the idea of a poetic work performed by children. Thus, the content of teaching choral reading is resolved in the unity of questions - what students read and how they read.
Correct polyphonic performance contributes to the maximum transfer of the theme works and their ideas. This reading helps the style of the work, its genre features; this performance embodies voice, the logical and syntactic melody of speech, the music and rhythm of the verse, one or different structure of prose.
Choral reading must comply with the rules of literate pronunciation; it should be, needless to say, loud, clear, conveying to the listener with full clarity sounding word.
M.A. Rybnikova highly appreciated the choral performance of the text as a teaching method expressive reading. “This system,” she noted, “creates a large musical richness, emphasizes the parts of the whole and allows you to submit each part of the new voice means. Have an individual student read... a poem - before polyphonic reading and after such reading. Second performance under the influence of the symphonic sound of the text will also become student more expressive.
The distribution of text between voices, often referred to as orchestration, is business of a teacher who is guided by his own considerations, but there is some regularities. The most important places are pronounced in chorus, lyrical - in high voices, intimate, individual is entrusted to the soloists.
The team works especially well when it is headed by a leader, not only mastering the art of artistic reading, but also musically educated.
Material for choral reading should include works that have an ideological artistic value, accessible to understanding and execution by students, as well as enabling the systematic accumulation of skills and abilities of expressive reading.
Not every work is suitable for choral performance. The best thing use works that by their very nature require polyphony: mass scenes, pictures of nature depicting the active action of elemental forces. Most often they take the prologue to "Ruslan and Lyudmila" for choral reading, poem by N.A. Nekrasov "Green Noise", description of the Dnieper in Gogol's story "Terrible revenge", Fragments of Mayakovsky's poem "Good!", Description of the battle in the poem Pushkin "Poltava", etc.
Polyphonic reading is very widespread in extracurricular activities. Moreover, in this type of work it is possible to attract a smaller number of students (ensemble of readers - 7-9 people). Often choral reading is included in those compositions which are shown from the stage. For such compositions, you can combine a vocal choir with speech and in the composition itself include reading, singing and music.
Orchestration poetry for choral reading
A.
S. Pushkin
"Demons"
Two words-1 ½ hora Clouds are rushing, clouds are winding;
Second two - another ½ choir (one tone higher)
Reader 1(thoughtfully) Invisible moon
illuminates the flying snow;
Whole choir (quietly) Cloudy sky, cloudy night.
Reader 2 (slowly) I'm going, I'm going in an open field;
reader 3 (voice) ding bell, ding, ding…
Whole chorus scary reluctantly
Amid the unknown plains!
Reader 2 "Hey, go, coachman! .. "-
Reader 4 "No urine:
Horses, master, it's hard;
The blizzard sticks my eyes;
All roads skidded;
For the life of me, no trace is visible;
(with growing excitement) We lost our way. What should we do?
(mysterious) In the field, the demon leads us, apparently,
Yes circles around.
(quickening up, with fright in his voice) Look: out, out, playing,
Blows, spits on me;
Out - now pushes into the ravine
wild horse;
There's an unprecedented mile away
He stuck out in front of me;
There he sparkled with a small spark0005
And disappeared into the empty darkness.
Two words-1 ½ Chora Clouds are rushing, clouds are winding;
Second two - another ½ choir (one tone higher)
Reader 1(thoughtfully) Invisible moon
illuminates the flying snow;
Whole choir (quietly) Cloudy sky, cloudy night.
Reader 1 and 2 (with despair) We have no strength to spin around;
Reader 3 (dispassionately, simply) The bell suddenly fell silent;
The horses got up…
Reader 2 “What is there in the field?” -
Reader 4 "Who knows them? Stump or wolf?
Whole choir The blizzard is angry, the blizzard is crying;
¼ Chora Sensitive Horses snore;
Here he is galloping far away;
Only eyes burn in the darkness;
The horses raced again;
Reader 3 (voice) ding ding ding bell din…
Reader 2 I see: souls gathered
Among the whitening plains.
Whole chorus are endless, ugly,
muddy month game
The demons swirled,
like leaves in November.
..
Reader 2 " Where are they being driven?
reader 4 What is so pitiful sing?
reader 2 bury,
Reader 4 witch or married issue?
Two words-1 ½ hora Clouds are rushing, clouds are winding;
Second two - another ½ chorus (one tone higher)
Reader 1 (thoughtfully) Invisible moon
illuminates the flying snow;
Whole choir (quietly) Cloudy sky, cloudy night.
All chorus swarm after swarm of demons
in boundless height,
squealing plaintively and howling
breaking my heart…
A. Kushner
“Not make some noise…”
For use in extracurricular activities
( Ensemble of Readers of 7 people, moving around the stage, can create a small performance that serves as a very unexpected and effective presentation of the text).
1 reader: (very loud) Don't make noise!
All: (simultaneously squatting,
as if in scared)
(quietly, in bewilderment) Did we make noise?
2 reader: After all, no one thought to make noise!
3 reader ( trying explain) Well, Andryusha barely knocked.
..
1 reader: (loudly) Hammer! On the iron pipe!
4 reciter: (soothing) I played softly on my lip...
5 reciter: Eight fifth size respecting,
Tanya slammed the barn door.
6 reader: Misha drove a stone on glass
3 reader: Tolya hit on pot in the corner…
1 reader: (loud, with indignation) With a brick!
3 reader: But not loudly and rarely.
1 reader: (escaping forward) Don't make noise!
All: (very loudly,
lining up, closing the reader 1) Said the neighbor!
(quietly) And no one thought to make noise.
5 reciter: (solemnly) Vasya sang!
4 reader: After all, you can’t don't sing!
2 reader: And what about the voice Vasya hoarse…
3 reader: ... so then we and huddled together.
5 reader: Who knocked!
6 reciter: Who creaked!
2 reader: Who was buzzing!
4 reader: So that I don't embarrassed and sang!
All together: (chanting) Sing, Vasya, sing!
1 reader: (humbly agreeing) Sing, Vasya!
Literature:
1.
Kachurin M. G. Expressive reading in VIII-X grades. L., 1960, p. 76.
2. "Method expressive reading. Ed. T.F. Zavadskoy, Textbook for students specialty No. 2101 "Russian language and literature" "Enlightenment", Moscow, 1977.
3. Rybnikova M. A. Essays on methods of literary reading. M., '1963, p. 146.
4. Solovieva A. M., Zavadskaya T. F. Expressive reading in grades 4-8. M., 1983, p. 30.
| Media library < Teaching materials < Curricula < Reading choral scores (2004) printable version Ministry of Culture and Mass Communications of the Russian Federation Approximate program of academic discipline Reading choral scores Specialty 0503 “Church Conductive” Moscow ADDED METHODIC COUNTIONS FOR Culture and Art Group of Culture and Medial Secondary Education Chairman G. Ministry of Culture and Mass Communications of the Russian Federation , teacher of the Choral Conducting Center, Honored Worker of Culture of the Russian Federation |
V. Mayarovskaya scores necessary for further practical activities of future choir conductors.
The main objective of the subject is the comprehensive training of future specialists, their involvement in independent work on the selection, study and analysis of choral works.
The best way to get acquainted with a choral work is, of course, to listen to it in its original sound. However, such familiarization with choral literature is not always possible. In addition, a single listening to a previously unknown choral composition cannot provide its further in-depth analysis. The performance of the score on the piano gives this opportunity, which is an extremely important moment in the professional activity of a conductor.
MINIMUM REQUIREMENTS
Practical learning of the subject "Reading choral scores" includes:
- Formation and development of musical and auditory figurative representations of students, contributing to understanding the sound of both the choral work as a whole and its individual components, revealing its content, structure, character.
- Acquaintance with the work of Russian and foreign composers of different eras, times and styles.
- Acquaintance with the best samples of folk song creativity.
As a result of studying the subject, students should have the following knowledge, skills and abilities to work with choral scores:
- knowledge of theoretical foundations and the ability to implement them when reading choral works;
- analysis of the studied work;
- piano performance and choral singing; transposition.
- sight reading
EXAMPLE THEME PLAN
The scope of the subject "Reading choral scores" - 62 hours during 3, 4, 5, 6 and 7 semesters.
Individual lessons:
in semesters 3, 4 and 5 – 0.5 hours per week;
in semesters 6 and 7 - 1 hour per week.
In semesters 3, 4 and 5, students must complete 6 works; for the 6th and 7th semester - 7 works each.
The volume of program requirements by semesters is distributed as follows:
2nd year, 3rd semester:
Study and performance of three two-line scores for a homogeneous and mixed composition (choirs without accompaniment) and three three-line scores for various compositions of scores.
The first three scores are transposed m.2 above and below, and the next three scores are transposed b.2 above and below.
2nd year, 4th semester:
Study and performance of one two-line score (complex), one three-line score (more difficult than in the 3rd semester), two four-line scores (for homogeneous and mixed choir - simple, without accompaniment ) and the study of two works with piano accompaniment (simple, with a two-line choral score).
3rd year, 5th semester:
Study and performance of one score (complex) without accompaniment, two four-line scores for homogeneous and mixed compositions without accompaniment. (Students with a good command of the piano can include three four-line scores in the program). Performance of three works with accompaniment (with a three- and four-line score).
3rd year, 6th semester:
Study and performance of one piece in the keys "before" (1-3 keys), three without accompaniment and three (more complex) - with accompaniment.
One of the six scores must be with the soloist's part.
4th year, 7th semester:
Study and performance on the piano of more complex polyphonic choral works by Russian and foreign composers of various styles. The program includes four pieces (four-line) without accompaniment and three pieces with piano accompaniment.
At the end of the semester, two works from the program (with and without accompaniment) are submitted for credit.
Particular attention is paid to sight reading skills. This work is carried out at every lesson from the 3rd semester of the 2nd year. The principle of selecting musical material is from simple to complex, taking into account the individual characteristics and capabilities of the student.
EXAMPLE CONTENT OF THE EDUCATIONAL DISCIPLINE
When mastering choral scores with the help of the piano, it is necessary to pay serious attention to the analysis of the studied works, taking into account that a choral work is a synthesis of music and words.
A careful study of the literary text is an indispensable condition for the competent and expressive performance of the score on the piano. Performers should have a good understanding of the meaning of the author's instructions regarding agogic changes, various strokes, dynamics, the nature of sound science, etc.
The main method of sound leading in the choir is legato. Therefore, when playing a choral score on the piano, this skill should be given special attention. Mastering this most difficult skill can be achieved as a result of the gradual complication of musical material. The skill of playing the score without a pedal is important. It should be used as an auxiliary technique, making it easier to perform difficult parts of a piece, for example, supporting a bass voice far removed from other voices, large jumps in a melodic voice, repetitive harmonies, etc. The ability to correctly designate fingering is an indispensable condition for expressive performance of the score.
It is necessary to demand from the student a thorough analysis of the choral work according to a certain plan:
- Information about the authors of music and text (brief creative biography, characteristics of creativity, creative heritage), content of the work.
- Musical-theoretical analysis of the work (tone plan, form, cadences, the nature of the development of musical thought, meter, features of texture, tempo).
- Vocal and choral analysis: type and kind of choir, voice ranges, tessitura, ensemble, structure, intonation, vocal-choir, rhythmic, diction difficulties).
- Performance analysis of the piece; (the connection of music with the text, the definition of caesuras, the establishment of the tempo, the nature of the work, dynamics, strokes, climax).
The main task of students when studying each new choral score is to grasp by ear the intonational-high-pitched sound of the work or its individual fragments until the moment of performance on the piano. The implementation of this task is facilitated by the singing of choral parts “to oneself”. Performing the score on the piano, the student gets the opportunity to clarify and develop his idea of the sound. Such work on the score, in which playing the instrument is combined with the work of internal hearing, is the main method of teaching the reading of choral scores.
When performing choral voices in a work, the student must:
- Sing, with pure intonation, any choral voice and play the entire choral score at the same time.
- When playing a choral score, lower the choral voice that the student is singing at the moment.
- Move from one choral part to another, performing, as directed by the teacher, part of the choral voice “to oneself”.
- In a work with accompaniment, sing any of the voices, playing the accompaniment.
At each lesson, it is necessary to allocate time for “reading from a sight”, gradually complicating the technical tasks.
A significant role in the method of conducting the subject "Reading scores" is played by the development of the skill of transposition. This work must be started with light and small pieces, well studied in the main key. Mastering the skill of transposition is necessary for the student for future practical activities.
In order to hear the full sound of a work, it is necessary to play both choral voices and accompaniment on the piano at the same time.
Playing a full choral score with instrumental accompaniment is a more difficult task and causes noticeable difficulties.
In the practice of senior students there are scores that cannot be played in full. The ability to simplify polyphonic works a cappella, "Choral layer" in works with accompaniment, as well as the accompaniment itself, is important for the further practical work of future leaders of amateur groups.
When working on reading choral scores in the keys “to”, one should first of all dwell on those that are used most often. These include "soprano", "alto", "tenor" keys.
CONTROL AND RECORDING OF PROGRESS
In semesters 3-6, grades are given based on current academic performance. At the final standings at the end of the 7th semester, the student must have the following skills:
- be able to perform two prepared scores - without accompaniment and with piano accompaniment;
- sing voices;
- transpose the score (without accompaniment) to the desired interval
- (b.
2 and m.2 up and down), answer questions related to the analysis of the performed scores, the work of the composer and the author of the text; - read the score from the sheet.
Approximate repertoire list
1. Works for the female choir unaccompanied
Two -line presentation
| Antsev M. Baumhoven L. Bodrozhni Borotovo Borotovs Borotovye Borotovye Borotovo Borotovye Brothers Brothers Brother Glovach V. Dargomyzhsky A. Ippolitov-Ivanov M. “Like on an oak tree”, Russian folk song arranged by Y. Slavnitsky Kaljuste H. Kodai 3. Korganov T. “You are my beauty”, Russian folk song in arrangement A. Yurlova Cui C. Mendelssohn F. Ozolin Y. Partskhaladze M. Pebikov V. G. Smetana B. Taneyev S. Tormis V. | "Lily of the valley", "Waves dozed off", "Autumn" "Hussars are coming" "Nightingale", "Hymn of the night" (arranged by V.  Sokolov) "Over the Dnieper River" "Autumn" "Winter Road". "I made a path" “From a country, a distant country” “Pine” “Everything is on a swing” “Waves dozed off”, “Thunderstorm” |
2. WORKS FOR MEN'S CHOIR WITHOUT ACCOMPANIMENT
Two-line presentation
| Anonymous XVII century. Boyko R. Weber K. "Sweep, weave cabbage", Russian folk song arranged by V. Orlov Glinka M. Grig E. "Hussars", Slovak folk song arranged by V.  Novak Darzin E. Kopylov A. Koval M. Cooper E. Mendelson F. “Blow blow the bad weather”, Russian folk song arranged by N. Rimsky- Korsakov “The field is clear”, Russian folk song arranged by A. Lyadov Rubinstein A. Serov A. Sibelius Ya. Taneyev P. Foster S. Schubert F. | Kant “The storm blew the sea” “Sunsets and dawns” “In the forest”, “Song of the sword” “Bird cherry blossoms” “Let the storm howl” “Old song” |
3.
WORK FOR MIXED CHOIR WITHOUT ACCOMPANIMENT
Two-line statement 9
Arkadelt Ya.
Gluck K.
"Mountains", Russian folk song, arranged by A. Alexandrov
Dargomyzhsky, A.
Egorov, A.
"Play, my bagpipe", Russian folk song, arranged by V. Kalinikov , Russian folk song, arranged by D. Shostakovich
Liszt F.
Lundvig H.
Ludig M.
Mendelssohn F.
Messiaen O.
Mozart W.
Purcell G.
Salmanov V.
Sviridov G.
Serton P.
"Dusk of the night fell on the earth", Croatian folk song arranged by A. Arkhangelsky
Taneev S.
“You, mountain ash”, Russian folk song arranged by A. Kastalsky
“Oh, winter-winter”, Russian folk song arranged by P. Londonov
Tchaikovsky P.
Schumann R .
Schubert F.
“Ave Maria”
Psalm No. 101 “I will love You, Lord!”
"Heart, Be Silent"
"Spring Call"
"Prayer"
"Choral Conversation"
"Feast of the Choir"
"Two Crows"
"Song"
"The Coming of Spring"
"Forest"
lake"
"Run with me"
"Choral"
"Our union is beautiful, brothers"
"Evening song"
"As you live, you can", "From afar"
"Song"
"Mystery", "All that is destiny "
“Serenade”
“Hear our prayers, Our Father”, “Legal song
”
“Summer song”, “Good night”, “Evening star”,
“Hello spring”
“Round dance”.
4. Works for the female choir unaccompanied
Three-line presentation
| “A and densely on the birch of leaves”, Russian folk song in the processing of N. Roman-Korsakov “Ah, you, you, you, you, you, you, you, you ”, Russian folk song, arranged by M. Glinka Bartok B. Brahms I. Weber K. "In the Patch", "Along the Street", Russian folk songs arranged by A. Lyadov Guerrero F. "Because of the forest, the dark forest", Russian folk song arranged by N.Rimsky-Korsakov Ippolitov-Ivanov M. “Like beyond the river”, Russian folk song, arranged by N.Rimsky-Korsakov Kodai Z. Cui C. Morley T. Schmitt F. | Seeing the Herd Off, Summer Song, Spring "Katarina" "Sharp Ax" "Deceptive Meadow", "In the Green Forest", |
5.
WORK FOR MEN’S CHOIR WITHOUT ACCOMPANIMENT
Three-line statement
| Grieg E. Dargomyzhsky A. Dantiabl P. Tchaikovsky P. | “Of course I’m a big fool” “In the wild north”, “What silenced joyful voice” “Sancta Maria” “Night in the mountains” “Green grass” “Vere languores " Arrangements of Russian folk songs: “It’s such an evil root”, “The field is clean ”, “What are you yearning for”, “Attack, attack” “Everything woke up around” “Captured by a rose, nightingale” , "The raven flies to raven." Arrangements of folk songs: "You rise, the sun is red", "In moons", "Blow, blow bad weather" "Soldier's Night" "Liturgy of John Chrysostom" (department numbers) "Evening" |
6. WORK FOR MIXED CHOIR WITHOUT ACCOMPANIMENT
Three-line presentation
Bakh I. “White bird cherry”, Russian folk song, arranged by A. Sveshnikov Boyko, R. Brahms, I. “Dorozhenka”, Russian folk song, arranged by A. Sveshnikov Lejeune K. Ernesaks G. | Motet No. 3, stanza fourth, Andante “Sing me that song”, “In the evening “To a friend” “Et incarnatus” “Evening entangled the earth with mist” Spring "Night clouds" (№1) "Silence of the night", "I remember the rural |
7. Works for the mixed choir unaccompanied
Four -line exposition
| “When Sorrow” “LOAD SON0282 "One of your eyes" "Night in the forest", "Farewell", "Rosemary" "Dreams" "As in the evening" "At home" "Above the impregnable steepness", "Mountains", Russian folk song in arranged by A. Alexandrov "Night" "O native land", "Forest", "Night", "Pine", "Sharp ax" "The Lark", "Winter", "Condor", "Elegy", "Summer Passes" "Evening Song" "Water", "Lighted up in the distance", "Sleep all" "I've been waiting all evening again" "Forest lake" "Dreams", "Forest", "Autumn song" "Godfather and godfather" "Wounded eagle" "I love and hate" "Ozepo", "Jvari" "Evening song" "The night is terrible to me", "Sadness" "Song", "The fields are compressed" "Kovyl" "In the evening blue", "Snowstorm", "Sadness expanses", "Songs" , "Autumn", "Winter Morning", "Mary" "Finland", "Mother's Song", "Why Your Voice Faded" "Serenade", "Venice at Night", "Pine", "Evening", "Choral" from cantata "John of Damascus" "Swan", "Doe", "Winter" "A golden cloud spent the night", "Nightingale", "Not a cuckoo in a damp forest » "Not a flower fades in the field", "Night", "August", "Alps", "In winter" "Good night", "Sleep", "In the forest" "Winter road", "Echo" , “The Cossack drove horses” “Be brave, friends”, “To the executed” “The first ice”, “To you, the fallen” |
8.
WORK FOR CHOIR WITH PIANO ACCOMPANIMENT
Two-, TPEX and four-line presentation
| Bach I. Berliosis G. Bezen L. Borodin A. Brookener R. Verni J. VERSOVSKY A. Gandel G. Gershvin J. Glier R. Grechaninov A. Grieg E. Mycopg M. Prokofiev S. Pulenk F. Rakhmaninov S. Rimsky-Korsakov N. Fauré G. Chesnokov P. Schubert F. | Tercet from Magnificat The Hunter Prisoners' Choir from Fidelio, Kyrie from C-8dur Mass "Carmen" Choirs from the opera "Prince Igor": "Fly away on the wings of the wind", chorus of the boyars "Courage, princess", scene Yaroslavna with the girls, "Glory to the red sun " Sanctus from "Requiem" Choir of wanderers from the opera " Tannhäuser" "Choir of Hunters" from the opera "Magic Shooter" "Who is there with victory to glory", choir from the opera "Aida" Choir of girls from the opera "Askold's Grave " "Let the Loud Cry" from the oratorio "Samson" "How to sit here!" from the opera "Porgy and Bess» «Spring», «Evening», «The Grass Is Green» Choirs from the opera «Ivan Susanin»: Wedding Choir, «Glory»; Choirs from the opera "Ruslan and Lyudmila": Persian Choir, Choir of Chernomor Slaves "Perish, Die" "Rings", "Goat Vaska", "Summoning Spring", "Bee", "Harvest" "Forest Song ”, “Good morning” “Svatushka”, choir from the opera “Mermaid” “Mountain Peaks”, “Morning” Lacrymosa from “Requiem” c-moll “Dawn burns lazily”, “Birds” choir from the opera "Abduction from the Seraglio" "We sing a song of joy", choir from the opera "The Marriage of Figaro" "We got up early today", choir from the opera "The Magic Flute" "Where does that pleasant and gentle ringing come from" Choirs from the opera "Boris Godunov": "Not a falcon flies through the skies", "Dispersed, cleared"; "Gopak" from opera "Sorochinsky Fair" Closing chorus from the opera "War and Peace", choir from the oratorio "Ivan the Terrible" "Pushkari" "Abandoned Village" from cantata "Drought" "Glory to the people", "Captivity", "Pine", "Night" choir of warriors from the opera "The Tale of the Invisible City of Kitezh " "Rise at Midnight", choir guardsmen from the opera "The Tsar's Bride" choir from the opera "The Demon" "Nochenka" Choir of warriors from the opera "Dalibor" » "Mountain Peaks", "Pine Tree", choir women from the opera "Oresteia" "Requiem aeternam" from the "Requiem" choir from the opera "Eugene Onegin" "Girls, beauties", choir of girls from the opera "Mazeppa" “I will curl, curl a wreath”, Chorus of Walkers from opera "The Queen of Spades"; Seeing off Maslenitsa, Choir of the people from music to A.  
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