Development of intonation expressiveness of speech through game exercises. Games and exercises for the development of intonation expressiveness of speech in preschool children

1. WARM UP

As a group, loudly and clearly, separating each sound, say the following sounds several times:
I, A, O, U, Y.

2. Tongue twisters

Try saying these words just like that, and then with nuts in your mouth behind both cheeks. The best nut to use is hazelnuts.

1. Tell us about your purchases.
What about purchases?
About shopping, about shopping, about my shopping.

2. Mom washed Mila with soap.

3. Blunt-lipped bull, blunt-lipped bull.
The bull had a lip, was stupid

4. Buy a pile of spades (3 times)

5. One day a jackdaw pops, scaring
I saw a parrot in the garden
And that parrot says:
Scare the jackdaw, pop, scare.
But, jackdaw pop, frightening in the garden,
Don't scare the parrot.

6. Peter – cook, Pavel – cook (3 times)

7. There is grass in the yard, there is firewood on the grass
One firewood, two firewood, three firewood.

8. Prokop has arrived - the dill is boiling
The digging has gone - the dill is boiling.
How dill boiled under Prokop,
This is how dill boils without Prokop.

9. The cap is not sewn in the Kolpakov style.
The bell was not poured in the Kolokov style.
We need to re-cap the cap,
It is necessary to re-ring the bell - re-ring it.

10. Sasha walked along the highway and sucked on a dryer.

11. The cuckoo bought a hood.
He put on the cuckoo's hood,
How funny he is in the hood!

3. GEORGIAN CHORUS
This is an exercise to develop breathing. The whole group sings one sound at the same time, for example “a”. It is important to use your breath sparingly. The sound should be smooth, equal in volume, and not attenuated. Whoever is last is well done. You can also use another sound: “i”, “e”, “o”. But when they pull “a”, it is very reminiscent of a Georgian male choir.

4. PLAYING THE MAIN D'HOTEL

A head waiter is a manager in a restaurant, but this is also the name of the person who announces the arrival of guests.
Imagine a ball in some count's house, guests come in one after another. The head waiter announces their names. He makes it important, loud and clear. So that no one asks again later: who came there?
Now about the game itself. Choose a few long, complicated names. For example:

JEROBHAM, PARLIPOMENON (although that's not a name, so what?), etc.

Stand in a circle and take turns saying one name.
Here are some rules on how to do this:
· There is no need to separate the word. It should sound cohesive (for example, Jeroboam can be pronounced as Jerobo Am - funny, because “am”!)
· do not emphasize some vowels more than others, do not place a strong emphasis
· do not swallow or stretch endings and accented letters.

5. TEXTS

Read any texts out loud. Discuss where to pause and where the emphasis is on a word.
As a rule, a word is remembered best if there is an emphasis on it and a short pause after it. The words that come after a pause are the worst to remember.
The best way to learn about this is in the next section - literary reading.

6. LITERARY READING
Advice from Andrey Goncharov (Moscow)

At our rehearsals we conduct what is called artistic reading. That is, we take a passage from Scripture, I choose it in advance and according to the meaning of the exercise, and read it. But how...

1. Let's say the reading location is taken from sermon on the mount. I ask people to read 5-10 verses at a time, as if you were playing Jesus. That is, in this place it is important to convey through your diction the feelings that Jesus experienced while preaching that day: love, meekness, humility, care, peace, grace. And I demand all these signs from the reader. If he doesn’t succeed, then do it again, first showing what is required of him. In general, I begin to demonstrate all the exercises myself, thereby setting the necessary, correct course for my people. That is, what is required of them is not simple monotonous reading, but exactly how Jesus spoke these words! Further.

2. We read a passage from Scripture in the voice, manner and diction of an elderly person and a child who is not only just learning to read, but who still doesn’t read well, but already knows how. And here I ask my people to show me the difference between reading an elderly person and a child. Of course, the difference is in the voice. But not only in him. After all, in addition to simple reading, I ask people to convey their behavior in accordance with the given character. That is, they are already sitting down, as befits an old man or a child. And here the huge differences are already visible. And in the manner of reading, and reading syllables, some kind of muttering under one’s breath, but so that everything could be clearly heard!

3. "Fast reading." This is when a person, reading a book, shows that he has already read these lines. That is, simply put, reading at high, enormous speed. He is not required to pronounce words clearly. No. It’s like skimming through a text, but it’s desirable that explicit, clear words be spoken at least sometimes. And then you can again rush in search of the lost place. You are allowed to improvise in this type of reading, inserting your own words like: “well, well, I’ve already read that!” or “so, it already happened!” or "uh-huh!" You can move your finger across the book while reading.

4. "The voice of compassion, grief, sadness." Matthew 24 is perfect. Where Jesus lists future events. I just believe that Jesus was very emotional as he spoke these words. Maybe in some places he could barely hold back a tear, because He loves us very much. According to this place, I demand the same reading from my people. A very difficult task, perhaps the most difficult. You need to put sadness and sorrow into your voice. That is, demand from your people at this time to try to experience, to convey to everyone listening at the rehearsal what the reader is asking for! To send chills down the spine of everyone listening. This is a sure sign that a person succeeded. Out of 8 people, only 3 of us succeeded! Probably because I demand a lot from my people.

5. "Voice of the Devil." Despite all the seemingly simplicity, it is also a difficult task. Since it is required not only to yell and hiss like Satan, but also to convey through your voice all the hatred that the devil feels for us, people. That is, everyone must believe the reader!

In general, and so on in this style: the voice of Dejection, Disappointment, Fear. I gave an example, and now you can come up with situations yourself.
I spend the first half hour of rehearsal on such exercises. I believe that such exercises are very important, as they develop the diction level of the entire group. It’s just that some people in the group, who don’t learn everything so quickly, who were initially not as developed as others, are sometimes offended that basically the same roles are played, and they often sit on the “bench.” Explain to the entire group at once that you are seeking equal development for all members.
And also, if you see that a person is doing well in rehearsal, don’t spend a lot of time on him. He's doing great anyway. Better take care of those lagging behind. Only then will they be able to catch up with the successful, highly developed actors in your group. I just think it’s better when people are already prepared for the role, then you don’t have to waste time on setting the right voice for the actor!

7. READ LIKE CHILDREN

Let's try to speak in children's voices. To make this better, read aloud some text one at a time. Read slowly, stuttering, repeating words, pronouncing poorly, sniffling, as first-graders do. It will be easier for you to do this if you all play school. Let someone be the teacher (or teacher). He tells who to read to; the other “children” must read to themselves and run their fingers over the text. Another tip: to make the text really difficult for you, turn the page and read “upside down.”
With this game-exercise, you train not only your vocal abilities, but also learn to get into character (in this case, into the character of a child).

8. READING RULES

When reading this verse, you need to do everything that is written as you read.

Remember firmly that before you begin the word in the exercise,
The chest cage should be expanded slightly.
And at the same time, pick up the lower abdomen, the support of breathing and sound.
The shoulders should be motionless and at rest while breathing.
Speak each line of poetry in one breath.
And make sure your chest doesn't tighten while you speak.
Because when you exhale, only one diaphragm moves.
Having finished reading the lines, do not rush to move on to the next one:
Pause briefly at the pace of the verse, at the same time
Hold your breath for a moment, then continue reading.
Make sure every word is heard.
Remember to use clear and pure diction on consonant sounds.
Don’t be lazy to open your mouth so that the path is clear for your voice.
Don’t muffle the sound of your voice with an aspirated dull tone.
The voice, even in a quiet sound, should retain metallicity.
Before doing an exercise on tempo, height and volume,
You need to pay attention to the evenness and stability of the sound:
Listen closely so that your voice does not tremble or sway anywhere.
Exhale sparingly, counting on a whole line.
Composure, sonority, flight, stability, smoothness -
This is what you first look for in the exercise with attentive hearing.

Intonation

• Offer. Intonation. Punctuation marks at the end of sentences. Russian language lesson in 1st grade
• Word and phrase stress. Intonation. (English language)
• Features of intonation through sensations of localization of sounds of different heights in speech and singing (integrated method of teaching solo singing)

Development intonation expressiveness children's speech

6992

the mice came out one day
see what time it is.
one, two, three, four -
the mice pulled the weights.
suddenly there was a terrible ringing sound,
The mice ran away.
(translated by S. Marshak)

rain

Take an umbrella with your child, stand away from each other (so as not to touch each other). tell:

rain, rain,
pour full,
small children
wet.
drip-drip-drip(voice the sounds of rain at a slow pace).
Let's quickly open the umbrella,(open your umbrellas)
Let's protect ourselves from the rain.
"how, drip, drip"(voice the sounds of rain in fast pace, gradually slowing them down).

exercises for correct use voice power

“Quiet, the doll is sleeping...”

put her in bed with the child and tell her that now she needs to talk in a whisper so as not to wake her up.

it's time to get up! ask to wake the child up (you can speak in a “normal” voice).

frogs and baby frogs

The adult will be a “frog”, the child will be a “frog”. Tell your child that frogs croak loudly: “kva-kva-kva,” and little frogs croak quietly: “kva-kva-kva.” talk to each other in the “frog” language: “kva-kva-kva” - “kva-kva-kva”. in the same way, you can organize a “dialogue” between a dog and a puppy, a cat and a kitten, etc.

elephant and baby elephant

Ask your child how a big elephant will stomp? (“top, top, top”). and how will a little elephant stomp? (“top, top, top”). call the child alternately: “big elephant - little elephant,” and let the baby voice their steps.

three bears

Prepare three toy bears (large, medium and very small). Remember with your child Leo Tolstoy's fairy tale "". Invite your child to voice the words of Papa Bear in a “thick” (bass) loud voice (let the child pick up the big bear): “Who ate from my bowl?” Then practice with your child speaking for Mama Bear in a calm voice: “Who was sitting in my chair?” and finally, for the bear - in a thin voice: “Who went to my bed?”

fish, mouse, cat and cow

Place four in front of the child: a fish, a mouse, a cat and a cow. remember who says what. (the fish silently opens its mouth, the mouse quietly squeaks: “pee-pee-pee”, the cat meows: “meow-meow”, and the cow moos loudly: “moo-oo-oo-oo”. Now you will show the child one thing animal, and the child will voice it.

"there was silence..."

Tell your child the beginning of A.shibaev. speak in a whisper at first, gradually increasing the volume of the voice:

there was silence, silence, silence.
suddenly it was replaced by a roar of thunder!
(on the word “thunder”, to enhance the effect, clap your hands).

bear and cub

You stomp your feet hard on the floor, and the baby says, “It’s a bear.” then you quietly trample on the floor - the child says: “this is a bear cub,” etc.

Material for the lesson.

Melodic hearing is the ability to perceive, intonate, evaluate and emotionally experience melodic phenomena. It plays a leading role in intonation during the process of performing and listening to music. Therefore, the development of melodic hearing and the development of intonation skills on its basis is one of the main tasks of auditory education in solfeggio lessons. Melodic hearing includes modal and interval hearing.

As noted by L.M. Maslenkova: “In mastering the diatonic scale of classical major and minor, two paths have historically developed. One of them involves moving from a small intonation cell to the gradual accumulation of a full scale, the other is built on isolating individual steps from a full scale. Three points serve as indicators of mastery of classical tonality: the student feels the tonic, keeps the tune and hears each step separately.”

Interval hearing is the ability to evaluate an interval as a ratio of two sounds, which has a stable expressive property.

Intervals are usually studied both in tune and from sound. Studying intervals in harmony develops intonation accuracy and expressiveness of singing, flexibility and intonation sensitivity of hearing. Singing intervals from sound promotes free intonation of musicXX - XXIcenturies, where the modal-constructive role of the interval becomes decisive in the conditions of the expanded sound composition of the mode and modal variability.

The development of melodic hearing occurs in various forms work in solfeggio lessons. A special place among them is occupied by intonation exercises. They serve to accumulate internal auditory ideas and are auditory gymnastics.

The solfeggio teacher needs to pay attention to intonation exercises in each lesson (5-7 minutes), as they provide an opportunity to gradually develop perception and reproduction skills individual elements musical language and most quickly lead to the main goal - the ability to solfeg and hear them.

To achieve solid knowledge, it is necessary to remember that the process of mastering any element of a musical language has four stages: familiarization, listening, memorization through repeated repetition and its reproduction.

Intonation exercises can be classified according to a number of characteristics. By number of votes -monophonic and polyphonic.Methodologically, they can be divided intoexercises in harmony, from a single sound, unaccompanied and with harmonic accompaniment. Examples of intonation exercises:

1. Singing a sequence of steps in the same major and minor with the names of sounds or syllables, for example:

2. Improvisation of melodic “songs” against the background of harmonic accompaniment in major and minor, for example:

3.Singing a scale with the name of the notes. Singing stable steps, unstable and introductory steps, for example:

Singing intonational chants in a certain size and rhythm, for example:

Singing upper tetrachord three types minor, for example:

Intonation exercises fordevelopment of interval hearing consist of singing intervals as a ratio of scale degrees (that is, relying on developed modal hearing). They are based on free intonation of intervals from the sound up and down, as well as intervals that are part of the chord, for example:

Composing and improvising a melody

This type of work involves several directions: spontaneous composition on given texts, in which the student improvises the end of a phrase begun by the teacher; improvising melodies in the form of a rondo (certain intonation and rhythmic patterns are fixed in the refrain melody), composing melodies based on a given rhythmic pattern, etc. Examples creative tasks aimed at developing melodic hearing:

Finish singing melodies on a neutral syllable, with the names of sounds in the studied keys.

Improvisation of a phrase-answer ending on the tonic:

3. Improvisation and written composition based on a given rhythmic pattern:

4. Composing melodic variants of phrases and sentences:

5. Improvisation of the end of a musical phrase:

6. Improvisation of melodies to a given rhythmic pattern using the intonations of the passed intervals, movement according to the sounds of the studied chords:

7. Improvisation of a melody based on a given harmonic sequence:

8. Composing a melody according to a given intonation model ( various types melodic movement).MYou can use model cards. If the rhythm cards represent the rhythmic model as it looks in the musical text, then the melodic model looks graphically more conventionally:

9. Composing melodies based on a given sequence of scale steps—the student is asked to improvise or compose a melody in the specified time signature.

10.Composing and improvising according to a given rhythmic pattern in a specified key. For example: compose a melody to a given rhythm:

11.Completing the melody with modulation in the second sentence:

12. Genre transformations of the melody (waltz, march, polka, mazurka) by changing the size and rhythmic pattern (with the possible addition of sounds), for example:

Tutorials used in solfeggio lessons for intonation work: keyboard, ladder, column - a spatial visual aid reflecting internal structure fret (stable and unstable steps, their gravity).

The forms of exercises can be different:singing in choirs, in groups and individually, singing in a “chain”, singing out loud and silently, with vowels and syllables, singing with the text and with the mouth closed.

The rhythm when singing exercises must be chosen uniform and calm. When intonation exercises have already been mastered, it is possible to vary the tempo and rhythm. But at first it is better to take a simple rhythm in order to focus more attention on intonation.

L. Maslenkova in her book “ Intensive course Solfeggio" suggests starting to study major and minor modes through the simultaneous development of modal and intervallic intonations.

When constructing intonation exercises, it is necessary to avoid memorized patterns. To do this, you need to change the direction of movement when singing intervals and chords. It is recommended to sing chords in all possible combinations, at different tempos, using different strokes, which creates additional difficulties and contributes to their better assimilation. While working on the purity of intonation, we must not forget about nurturing vocal skills and working on the development of students’ voices.

Basic requirements for singing in solfeggio lessons:

Any intonation exercise, examples for solfege should not only be accurately intoned, but also beautifully and musically performed in a sing-song manner, and not with a point sound. Breathing when singing should be free and change according to phrases or according to the instructions in the text.

To clearly pronounce the names of notes or text, it is necessary to develop clear, active articulation, specially work on diction, meaningfulness and expressiveness of performance, with strict adherence to the dynamic shades indicated in the text.

The singing of each exercise should be carried out with harmonic support.

As E. Davydova notes, “it is harmony, sound complexes that help to understand modal connections and help clarify intonation.” The melody of the exercise should not be placed in the upper voice of the harmony. In the event that the melody is duplicated by the upper voice of harmony, the intonation will tend to the tempered tuning of the piano and will become invariant and inflexible.

After singing with harmonic accompaniment, you need to move on to singingacapella. When singingacapellathe inner ear functions most actively, and intonation most fully reveals the modal intonation and metro-rhythmic structure of the melody.

Education of pure intonation is a process of simultaneous and interconnected education of the auditory and muscular skills of the singer. It is important to constantly cultivate a sense of auditory self-control - carefully listening to your own intonation. The meaningfulness and expressiveness of singing contributes to the purity of intonation and stability of tuning. The purity of intonation also depends on the ability to do structural modal and interval analysis of the melody.

When singing, a well-developed sense of harmony is important. A sensitive ear for modal adjustments makes adjustments to the intonation of the melody. In solfeggio lessons it is necessary to develop the “hearing - singing” skill.

When composing intonation exercises on any topic, several conditions are necessary:

Each exercise must correspond to the chosen topic, that is, work on a specific element and bring its assimilation to the subconscious level.

The intonation and rhythmic aspects of the exercise should not interfere with each other. Therefore, the meter rhythm in intonation exercises should be simple and clear. And in exercises for mastering rhythm there should be the simplest intonation.

3. Exercises should be minimum sizes. They should easily fit into the minds of students and contain sequential development; transposed into different keys, convenient for intonation, taking into account the range of voices of a given group.

4. The purpose and meaning of each of them should be clear to every student.

A useful task for students is to come up with sequences of steps, intervals, small melodic turns on a given metro-rhythmic basis, as well as melodies containing a comparison of different modes (major and minor), for example:

Thus, in the complex of means and forms of work on the education and development of musical ear, intonation plays a leading role. Without the accuracy of intonation, without the purity of structure, all other issues of auditory education lose meaning. Boris Asafiev said: “In music you need to be in tone, that is, intonate. The law of intonation is understood as expressions of thoughts and feelings." Fidelity of intonation is an active manifestation of the accuracy of perception; therefore, purity of intonation is not only a result to be strived for, but also one of the conditions for the successful education of musical ear.

Literature

Vakhromeev V. Questions of methods of teaching solfeggio in children's music school. - M., 1978.

Davydova E. Methods of teaching solfeggio. - M., 1973.

Maslenkova L.M. Intensive solfeggio course. - St. Petersburg, 2003.

Nezvanov B.A. Intonation in the solfeggio course. - L, 1985.

Ostrovsky AL. Methodology of music theory and solfeggio. - L., 1970.

Intonation- this is an individual tone of speech that can rise or fall, depending on the situation in which it is located talking man. With the help of intonation you can express your feelings, wishes, expression of will.

If the fluency of speech is impaired, the intonation of an oral statement is difficult, and emotional expressiveness leads to aggravation of problems in speech.

Intonation is a way of organizing means oral speech: sound strength of individual words, speech rate, timbre, pauses and melody: ascending and descending.

Intonation gives an oral utterance a special semantic and emotional meaning.

Increasing the level of competence in intonation structures specific language, helps improve the fluency and tempo-rhythmic organization of oral speech.

The point is that it is normal to speak with strong feelings, not just anger, but any other emotion. You may even get a delightful bonus: people who stutter tend to find less stuttering when they allow their feelings to come to the surface... This happens when we actually use our feelings to make our speech more expressive. John Harrison "Rethinking Stuttering"

Intonation exercises

Exercise: Read the phrases aloud, raising your tone of voice on the highlighted words.

Before you start, you can do some voice exercises.

Narration

This My friend. His name is Paul. To him twenty years. He entered the university. He will study at the Faculty of Education. He will study Russian language. He is a student first year Semester starts in September. Paul will live in a dormitory. He will have lunch in the student canteen.

Statement

This my Friend. His name is Paul. To him twenty years. He entered university. He will study at pedagogical faculty. He will study Russian language. He is a student first course. The semester starts at September. Paul will live in hostel. He will have lunch at student dining room If he wasn't student, then wouldn't live in the hostel, and I wouldn't have lunch in the student canteen.

Question

Who your friend? This your Friend? This is yours Friend?! How many is he old? To him twenty years? To him twenty years?! How his name is? His Paul name? His name is Paul?!Where did he get in? He entered to university? He entered university?! On what Faculty he studies? He is studying pedagogical faculty? He is studying pedagogical faculty or department? Which will he learn the language? He will study Russian language? He will study Russian language or literature?! On what course is he studying? He is studying first course?! He is studying first course? When does the semester start? In September does the semester start? The semester starts at September?! Where will he live? He's in hostel will he live? He will live in hostel?! Where will he have lunch? He will have lunch at student dining room? He will have lunch at the student's dining room or in a cafe?!

Exclamation

What is your Friend! Which good you have a friend! Which he is your friend! He only twenty years! Pavel - beautiful Name! He entered university! He will study at pedagogical faculty! He will study Russian language!

Melodeclamation.

Exercise: read the poem out loud with musical accompaniment. Observe pauses, use intonation to enhance the expressiveness of the sound of speech.

S.A. Yesenin

Musical accompaniment by W.A. Mozart “Piano Concerto No. 21”

***
The wind whistles, the silver wind, /
In the silky rustle of snowy noise.//
For the first time I noticed in myself -/
I've never thought like that before.//

Let there be rotten dampness on the windows, /
I don't regret and I'm not sad.//
I still fell in love with this life, /
Loved it as much as if from the beginning.//

Oh, my happiness and all the best!//
Human happiness is loved by the earth.//
The one who will cry at least once on earth - /
This means that luck rushed past.//

We need to live easier, we need to live more simply, /
Accepting everything that is in the world.//
That's why, stunned, over the grove/
The wind is whistling, the silver wind.//

Other exercises to improve the intonation side of speech are available in the "" section.

Development intonation skills in children is of great importance for speech development, since fromThe ability to adequately perceive, interpret and reproduce speech intonation and, depending on this, build one’s behavior largely determines the success of the communication process. Excessive or insufficient emotional expressiveness, its inconsistency with the conditions of the speech situation, is one of the sources of conflicts in interpersonal communication.

TO intonation skills include: ability to perceive by ear changes in all acoustic parameters of intonation; distinguish by intonation the expression of basic emotional states (joy, sadness, anger, fear, surprise, contempt, disgust) and semantic shades of the sounding statement; correctly place logical stresses; raise and lower your voice, control the power of your voice; maintain pauses, correlate the pace of speech with the content of the text; convey the meaning of a phrase using intonation; select the necessary intonation to express any emotional state; give a verbal description of the intonation of emotional speech;and also convey emotional intonations in written speech.

A practical means of carrying out development work intonation skills junior schoolchildren are speech exercises.

In the psychological and pedagogical dictionary we find the definition “ exercise– repeated performance by students of certain actions in order to develop and improve skills in academic work.” From this definition It follows that the exercises are designed to organize the reproductive (reproducing) activities of students, necessary for the development of skills and abilities and not requiring the student to creative thinking. However, in the process of speech activity, creativity is always present to one degree or another. To develop students' intonation in the process of working on it, it is proposed to use heuristic, problem-based, and creative tasks along with reproductive exercises.

The following main groups can be distinguished speech exercises to organize development work intonation skills children:

1) Exercises to master the components of intonation (logical stress, melody, tempo, volume, timbre, pauses), for example:

* Read the sentences. Think about how to place logical stresses. What words in the sentences helped you do this correctly?

Are you coming today or someone else?

Are you coming today or tomorrow?

Are you coming today or not?

Rain, rain, more,

I'll give you the grounds

I'll go out onto the porch,

I'll give you a cucumber.

I'll give you a loaf of bread too -

Water as much as you want!

* Remember and act out a fragment from a fairy tale « Three bears » , in which the bears returned home. What is the timbre of each bear's voice?

2) Exercises to develop expressive speech:

* Prepare the text for speaking out loud: mark logical stresses, place pauses, mark the movement of the voice, tempo, voice strength and timbre. Read it clearly.

* Read a fragment from a fairy tale expressively « Golden key » , observing the author’s intonation guidelines and paying attention to notes about voice timbre.

3) Exercises that provide enrichment vocabulary:

* What emotions do the characters from N. Nosov’s story experience? « Buddy » ? What intonation guidelines would you give to the participants in the dialogue? What words can replace verbs? « speaks » And « said » ?

The train stopped. We got out of the carriage and went home. It was quiet in the suitcase.

“Look,” said Mishka, “when it’s not necessary, he’s silent, and when he had to be silent, he whined all the way.”

- We need to look - maybe he suffocated there? - I say. Mishka put the suitcase on the ground, opened it... and we were dumbfounded: Buddy was not in the suitcase! Instead there were some books, notebooks, a towel...

- What is this? - says Mishka. -Where did Buddy go?

Then I realized what was going on.

— Stop! - I say. - Yes, this is not our suitcase!

Mishka looked and said:

- Right! There were holes drilled in our suitcase, and then ours was brown, and this one was some kind of red. Oh, I'm so ugly! Grabbed someone else's suitcase!

“Let’s run back quickly, maybe our suitcase is still under the bench,” I said.

4) Exercises to correlate sentence intonation and punctuation:

*Put necessary signs punctuation (periods, question marks and exclamation marks). Read, observing intonation.

Here is a rice field, but is this field some kind of swamp, water, and grass sticking out of the water, this is not ordinary grass, this is rice growing

(According to L.Kon)

* Read the poem that one absent-minded typesetter typed in the printing house. What's wrong here? Correct the poem by placing pauses and commas correctly.

B.Zakhoder

Where to put a comma

Very, very strange look:

The river outside the window is burning,

Someone's house is wagging its tail,

The dog shoots from a gun,

The boy almost ate the mouse,

A cat with glasses reads a book

The old grandfather flew into the window,

Sparrow grabbed the grain

Yes, as he shouts, flying away:

- That's what a comma means!

5) Exercises to correlate intonation and meaning of a sentence:

* Any tongue twister can be read with different intonation shades. What determines their choice?

« From the clatter of hooves, dust flies across the field » .

a) joyfully, enthusiastically (How beautifully the horses race!)

b) irritated, dissatisfied (They just sprayed...)

c) contemptuously (Ugh! What dust!)

« The crow missed the baby crow » .

a) with regret (I feel sorry for the little crow)

b) with condemnation (What a bungler this crow is!)

c) with surprise (It can’t be!)

* Imagine that phrase from the announcer's message « Weather for tomorrow: significant cloudiness, occasional rain » repeat out loud different people and everyone thinks about his own. Try saying these words in:

- a passenger who has purchased a plane ticket ( « Eh, I should have taken a train ticket » );

- holidaymaker at sea ( « You won’t get a tan or swim, but you’ll be heading home soon! » );

- an agronomist in days of long drought ( « Finally » );

- signed up for an interesting excursion the next day ( « Will it be canceled or not? » ).

6) Exercises for constructing a sentence with the desired intonation:

* Ask a question so that the sentence serves as an answer to it.

...? Apples are ripe in the garden...? Apples are ripe in the garden. ...? Apples are ripe in the garden.

* Come up with an interrogative sentence and ask this question to a friend with different logical stresses.

7) Exercises for the perception and correlation of basic human emotions by intonation and facial expressions:

*Look at the illustrations. How do the characters depicted in them feel? How did you guess? What can they say? With what intonation? Say it.

*Look at the illustrations. Think about the facial expressions of the person who pronounces the phrase. Draw his face. With what intonation is this phrase pronounced?

* Read excerpts from Hans Christian Andersen's fairy tales « Ugly duckling » And « Thumbelina » with appropriate intonation and facial expressions.

1) Everyone chased the poor duckling, even his brothers and sisters said to him: « If only the cat would drag you away, you obnoxious freak! » And the mother added: « Eyes wouldn't look at you! »

2) ...Others came for a visit May beetles who lived on that tree. They looked the girl from head to toe, and the lady beetles moved their antennae and said:

- She only has two legs! It's a shame to watch!

- She doesn't have a mustache!

- What is her thin waist! Fi! How ugly! - all the female beetles said in one voice.

8) Exercises for expressing emotional states in oral and written speech:

* Express alternately different human emotions (joy, sadness, anger, fear, etc.) using facial expressions, gestures and intonation, pronouncing numbers from 1 to 10.

* Say phrases using your voice to express different emotions. Let your listeners try to identify them.

« Open the door! » – angry, tragic, sad, pleading, joyful, arrogant, irritated, cunning.

« She's here! » - frightened, maliciously, with a feeling of joyful relief, bewitching, offended.

« Well done! » - admiringly, surprised, mockingly, indifferently, affectionately.

* Give phrases a given emotional coloring using special words and expressions and punctuation marks.

You over-salted the soup (with disgust); What a big mushroom (surprised);

The holidays will begin soon (joyfully); How should I be (sad)

* Come up with and write down happy phrases with interjections « Oh! » and sad phrases with interjection « Oh! » . What punctuation marks will you put at the end of these phrases?

Play occupies a special place in teaching younger schoolchildren.

Game exercises are given following functions: a) facilitate and enliven the educational process; b) stimulate students’ activity and desire for leadership (competitive function); c) “theatricalize” the educational process. At the core play activity lies the creative imagination, which helps children try on speech roles, transform into literary heroes, and evaluate their speech behavior. Game forms allow the child to realize his fantasies, dreams, intentions, including communicative ones. When executing speech exercises Children playing, on the one hand, master intonation and facial expressions of emotions and recognition of other people's feelings, on the other hand, their own emotions and feelings are enriched.

Here are examples of game intonation tasks:

*Game « Listen to me: how do I feel? »

The presenter pronounces this phrase with the intonation of one of the main emotions. The rest must guess by intonation what emotional state the presenter conveyed. The one who guesses first becomes the leader.

* « Alphabet » . Try saying the alphabet in one breath, gradually raising your voice. Which letter have you reached? Compete with a friend. Whoever stops closest to the end of the alphabet wins.

* « Who is more correct? » Several people play. Read the sentences one by one, pausing correctly. Whoever reads it incorrectly is out of the game. The one who lasts the longest wins.

Where to stay here? Where to stay here? What, does it hurt? What hurts? Well, what shall we sing? Well, shall we sing? How did you finish? How are you done? Give me another, new book. Give me another new book. Execute cannot be pardoned. You cannot execute, you can have mercy. I did not see my brother, comrade and his sister. I did not see my friend's brother and his sister. Their, children were sent to camp. Their children were sent to a camp.

* Each student receives one or two phrases from the newspaper, which must be read with the indicated intonation shades. One student reads out his assignment, the rest, using a dictionary of intonations, try to guess with what intonation the phrase was pronounced.

Natalia Vasilevskaya