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Art of Speaker | [IPhone] [iPad] [dev]



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Art of the Orator
version: 1.1

Last update of the program in the header:29.04.2014

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Short description:
“We learn to speak from people, to keep silence from Gods!”

Description:
The magic of the voice! What is it?
Silence. From the speaker speaker. Only voice. He charms. Crystal droplets of sounds fly to us. Work on the voice, charm!
The BEST exercises of the theater schools of the world, the experience of training professional actors, readers, speakers, and speakers so that your voice sounds CHARMING!
The charm of the voice is work. Inspire your loved ones, fascinate!

* more than 450 EXERCISES, combined in more than 40 classes, all levels of training, from children to professionals
* CHILDREN - rhymes, riddles and educational games with letters, we speak correctly
* create your OWN LESSON, including those exercises that are suitable for you
* the best OPERATIONS about public speaking
* SPEAKER for self-control
* Voice monitoring - connect science and this function will allow you to listen to yourself during the exercises
* send any favorite exercise to your friends by e-mail or by SMS

### WILL HELP ###
* correct burr, rotacism, letter P, the most common speech defect, you are no more burry!
* Lambdacism, L
* sigmatism, whistling C, Z, C, plan to enroll in a theater university - you here
* pronunciation of hissing sounds W, F, U, U
* voice
* development of all vocal abilities, singing, initial vocals - who plans to take vocal lessons in the future
* accent, dialect
* prepare your speech for admission to the theatrical university, remember that speech is part of the art of acting
* casting, auditions, filming, theater, cinema
* people of any profession related to public speaking
* improve the culture of speech, practice pronunciation, speak beautifully
* learn something new about what is oratory

### EXERCISE ###
* Diction
* Articulation, articulation gymnastics
* Vowels and consonants - the entire Russian alphabet
* Sound combinations
* Patters for all letters, complex patters
* Monophones (all words begin in one letter)
* Difficult words
* Many words
* Long sayings
* Languages
* Poems and short poems
* Poetry
* Test texts
* Games
* The most difficult texts
* Body release
* Breath
* Breathing exercises Strelnikova
* Voice
* Hygienic and vibration massage
* Range
* Strength
* Mobility
* Flight
* Voice hygiene
* Orthoepy
* Correction of talk
* Work with texts, preparation for performance
* Theoretical basis

For speech therapy - reference exercises!
Hello to children under 3 years old!
Older children - own speech therapist in the phone! By the way, in English the speech therapist will be logoped! Don't need a translator!

The education system in Russia does not imply training and the accuracy of the pronunciation of all the letters of the Russian alphabet, especially since it is more accurate to do it from kindergarten, and not when the child begins to learn to read. Therefore, for the development of his speech, you need to take the question into your own hands. Use the proposed speech therapy exercises!

Rhetorician! Rhetoric is stupid if the voice does not sound in the morning!
Speaker! It is not just about improving the sound of your voice, it is about the Art of the Speaker.

iTunes Store: https://itunes.apple.com/en/app/iskusstvo-o...1?l=en&mt=8

Download:

Post has been editedsnuch - 29.04.15, 23:22
Reason for editing: update 1.1



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There was a news about the application on this site.
In the comments a thoughtful intelligent audience with a tremendous sense of humor came up, I would not recommend to miss such communication, then you will bite your elbows
Link to the news



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M
Everyone asking to read the rules section!
All requests via PM! and only through lichku!



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Sent to all who wrote the last time.
That's all, there’s no more promo yet.



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Dear users, no promo codes yet, no.
For the sake of truth, it’s worth saying that the program is not yet as good as I would like, much more needs to be improved.
But I cannot reduce the price or even make it free. Too much strength and health has been invested in it.



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I like



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Made at the time of the free application.
Use.



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It is necessary so to lead ... today I searched and immediately for free. with me feedback !!!



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Quite by chance I stumbled upon this wonderful program and even for darma. Already started to engage, I hope after some time will be something to write a review.
Many thanks to the author for the tremendous work!



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Short video review
https://www.youtube.com/watch?v=H7hdL3adnB8



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Update 1.1 released
Updated the cap



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Version for kids or have exercises for adults?





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Skromn @ 09/06/2016, 18:43*
Version for kids or have exercises for adults?

Exercises in applications are suitable for both adults and children. There are levels for kids, beginners, advanced and experienced.

* snuch In general, the application has some flaws I would like to fix.
1. Grammar and punctuation errors
2. Add photos, visual diagrams, as well as videos of the correct position of the lips, tongue when pronouncing certain sounds and exercises.
3. Include the ability to add exercises to your favorites from the second tab (patters, articulation gymnastics, etc.)



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And where can I find IPA?



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And how can I get the app?



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Content of the program:

From the author
Good afternoon, dear user!

I am very pleased, even in absentia, to meet you.
I am writing “I”, although I speak on behalf of our small team, including Temka.
“I” is more convenient, because not to write “we are actors, we are programmers in the past”, as you will meet further, this will cause confusion.

So.
The program, which is presented to your attention, was originally developed for its own needs. The fact is that I am a professional actor and teacher in the skills of an actor and stage speech. However, in the past I am a programmer. The experience of creating applications allows me for my professional: acting and pedagogical needs from time to time to make various programs. I represent one of them to your severe court. The program, which, using the whole complex of exercises on stage speech, from the most simple to the most complex, used for professional training of actors and announcers, allows me to improve my speech and voice capabilities.

What is the purpose of this program?
Help every person who would like to learn to speak better. What do you mean better? Maybe someone has flaws in speech, for example, I myself have long struggled with the pronunciation of P and L, and even still use my program to improve the sounds of these sounds. Maybe someone has dialectical problems with the Russian language, in other words, an accent. After all, for example, not all people falling into the category of “persons of Caucasian nationality” are such as they are trying to present to us from the TV screens. There are a lot of remarkable people among them, some of whom, due to various life circumstances, were forced to leave their homes and are now in one of the cities of our Motherland. Among them there are many of those for whom the development of the Russian language has the same serious purpose in life, they respect it and would like to speak it “without an accent”. What else? Vote. Strength, volume, range, mobility. I give you the best exercises from the training of actors to help you accomplish this task. And just getting a beautiful Russian language. When you hear someone have a beautiful, “rich” voice timbre - do you think this is a consequence of mother nature only? Not at all. The timbre of the voice is associated with both the natural characteristics of a person, the structure of his vocal apparatus, and constant training. Do not believe? Did the voices of such artists as Yevgeny Leonov or Anatoly Papanov be just as interesting and characteristic when they were, say, twenty-five years old, like later, when they became so loved and recognizable? Watch their first films and understand everything.
I do not want to bore you with many examples. But the experience of my profession shows that everything that seems easy and “naturally given” is the result of long hard work. Don't you believe again? Last example. Oleg Dal. Read his full biography carefully. In the first year he was not taken to the theater institute because of problems with speech. But can you not tell on it?

How to work with this program?
From a huge amount of exercise, I created a series of exercises of varying degrees of difficulty. You can select the ones you need and turn on their “Favorites” group by clicking on the bookmark in the class screen. And you can create your classes based on a huge number of exercises that are in this program. If it will be difficult to figure out how to do this - click the Information button (in the upper left corner of the main menu). By the way, with the Settings button in the upper right corner of the main menu, you can change the text font there.
Working with a lesson allows you to interrupt the moment you need it.
And then start either from the beginning, or continue from where you left off.
This technique is especially good, for example, to work on diction. When you feel that your speech apparatus is tired, just stop. And then continue from this place.
Basic classes have a different duration, you can pick up what you need. For beginners, I advise you to work on the voice no more than 15-20 minutes a day. Gradually, with experience, the duration of classes can be brought up to an hour and a half, as students do in theater institutes.

Work with sound recording. “Audio” button.
Each exercise allows you to save a sound file with your sound. Please use. It is enough to press the button and instead of the arrows-movements in the exercise, the Record and Play buttons will appear.
However, I want to warn you. I have long thought whether or not to include support for this feature in the program. Tormented.
Stanislavsky forbade learning a role in front of a mirror. So it is better not to listen to yourself. Paradox? Not at all.
The main rule of stage speech is: the best sound is achieved when it is natural, when there is no “specialty” in it.
When you listen to yourself, you tend to “sound like a special sound”. It makes your voice unnatural, fake. Something like bad actors who in their lives speak like voices, trying to convince everyone around that they are very good actors.
However, the choice is yours.

Who is this program for?
Anyone. From those who professionally use their voice in life, to those who just want to speak better.
But I want to discuss an important point. This program, as well as any textbook - a great assistant. I use it daily in my work, as I wrote above. This is not just to be witty or to advertise. BUT! If you set yourself serious tasks, for example, a professional voice for work as a speaker or actor, or, on the contrary, you have serious speech or voice problems, then you need a professional teacher. In our country, the practice of private tutors is only gaining momentum, so there is some prejudice, everyone prefers to study books at home on their own. But the benefit of this practice is gradually changing. More and more people are resorting to the services of educators in order to achieve brilliant results. Why? It is very difficult for me to answer this question briefly, and to write a lot means to tire your attention. If you are stopped by this question - write to me, I will try to answer it in detail. But while I ask you, trust me, work with a voice is a delicate and complex thing, requiring an individual approach. You are not going to carry out the operation yourself? So it is here.
However, for the rest, I tried to make sure that in this program you received convenient and understandable instructions for independent work. This program is a tool, it will not replace a teacher, but it will be the best tool for self-training.

And I sincerely hope that it will be useful to you. What will help to change something in your life, in your worldview for the better, to open you new horizons, new meetings, new opportunities for self-realization.
The only thing I urge you to do is work. Not systematically mechanical, but creative. After all, your goal is to make your voice and your speech not specifically correct, but beautiful, pleasant sounding for you and for those people who surround you.
Be patient!

Respectfully,
Our small team, including Temko
P.S: If you have any difficulties with this program, comments, suggestions - be sure to let me know in any way possible. Intention to do something bad, against your convenience, I did not have, and if somewhere in something miscalculated, I will be glad to fix it and facilitate your use of my program. Do not be silent, bolder. Living, genuine communication in our seemingly super-communication age is becoming less and less. It's a pity…
P.S.S: If you like our program, please, if you can, leave a review in the App Store. This will make it easier for other people to search for this program. Thank.
Introduction
The main objective of the course presented is not only the correction of speech deficiencies or the formulation of a speech voice. The task is broader - the preparation of a creative personality, the cultivation of the ability to act logically, figuratively, and emotionally with the word, “infect” his interlocutors with it.
Improvement and development of speech and voice capabilities, orthoepic culture, education of language intuition - will make you not only a “carrier” of the language, but also the guardian of its values ​​and wealth.

This course is designed for any person.
And it is important for any person to know that in your everyday speech it is extremely important to be convinced that what is said is interesting, it is necessary that “I cannot fail to say” what I think, what I believe. The narrator must make his comrades see and evaluate the facts and phenomena as he evaluates himself. I strongly warn against meaningless, soulless mechanical speaking out loud empty words, as well as from declamatory, sentimental, pseudo-emotional - motor - speech.

The process of mastering technology is closely connected with psychological processes. This is the peculiarity and complexity of our subject. When practicing breathing, perfecting diction, eliminating signs of dialects, it is necessary to remember that good, sharp speech is not an end in itself. Sustained breathing, expressive voice, literary pronunciation, clarity and clarity of pronouncing sounds are a means of uncovering the spiritual wealth of a person, conveying all the nuances of the movement of his thoughts, feelings. The sounds of speech are “separate, independent beings with an individual soul and one characteristic sound content,” wrote M. Chekhov. “All these“ individuals ”influenced a person for thousands of years, developing and shaping the apparatus of his speech. All of them lived around a person, looking for expression through human speech. "

As a rule, work on equipment is a laborious and lengthy process. Here we need a will, a conscious attitude to the occupations. Orthoepy and diction are two sections that are inseparably and organically connected, as both are intended to assert the purity of Russian. The prevalence of dialects and violations of the rules of literary pronunciation required the inclusion of the “Orthoepy” section, for those in whose speech there are many orthoepic errors.

The correctness and purity of speech are closely related to its melody, intonation. It is necessary to have a well-trained breathing and a flexible, sonorous, large voice in the range. People of the "speech" professions constant training of breathing and voice is also necessary to preserve the professional qualities of the voice as prevention against diseases of the vocal apparatus. At the very first lessons on diction and orthoepy, proper use of breathing and voice is required. And in the first exercises on breathing and voice, sound combinations, words and texts are checked and fixed correctly and clearly pronounced.
The richness of the voice is closely connected with the richness of thought and imagination, with the emotional richness of the sounding word. KS Stanislavsky wrote in “Actor’s work on himself” that “good voices in colloquial speech are rare. If they occur, they turn out to be insufficient in strength and range. Even a naturally good voice should be developed not only for singing but also for speech. "

In recent years, much has been done in the study of the mechanisms of speech, hearing, and the theory of voice formation. Naturally, modern pedagogy has found new sources for improving the methods of work on breathing and hearing. The basis of new techniques lay the work of laryngologists, physiologists, psychologists, specialists in physical therapy. This made it possible to find a more faithful and accessible way to mastering proper phononial breathing, to the ability to work independently to improve their speech apparatus, to remove muscular clamps that hinder the work on the voice.
Much attention is paid to the ability to realize, memorize and consolidate those muscular and vibration sensations that arise in the process of voice training.

Some tips for practical lessons.
Anyone who begins to independently engage in speech technique, for successful work, it is necessary to remember that:
All classes must necessarily begin with complete muscle relaxation - this is a necessary condition for working on voice and speech.
Comply with the principle of consistency. It is necessary to begin with the simplest and move on to more complex, slowly, effortlessly and tedious tension. If you rely on quick results, you will not be able to achieve any results.
Observance of the principle of consistency will not only bring success in work, but will educate and temper the will, discipline, strengthen the nervous system.
Consistency and systematic - a necessary condition in the work on the technique of speech. Reasonable and persistent consistency will help achieve good results. Do not be intimidated and do not despair at the first failures, repeat the exercises again and again, but do it necessarily meaningfully, not mechanically, “all your actions must first go through the head”. When doing an exercise, think only about what you are doing. Remember that you work by an arbitrary, conscious method, at the highest stage of development of the human psyche, at the stage of conscious regulation of speech activity and behavior. This is the way of self-improvement and education of the individual.

Follow the rules of hygiene and prevention of voice and all daily life. (See the section on hygiene and prevention).
Acquired skills of speech breathing and diction do not use in professional speech until the entire course of study has been completed and these skills have not become involuntary.
Constantly monitorhisspeech in everyday life.
Speech apparatus
The speech apparatus is a collection of human organs necessary for the production of speech. It includes several links:
- respiratory organs, since all the sounds of speech are formed only during exhalation. These are lungs, bronchi, trachea, diaphragm, intercostal muscles. The lungs rest on the diaphragm, an elastic muscle that, in a relaxed state, has the shape of a dome. When the diaphragm and intercostal muscles contract, the chest volume increases and inhalation occurs, when you relax - exhalation;
- passive organs of speech are fixed organs that serve as a fulcrum for active organs. These are teeth, alveoli, hard palate, pharynx, nasal cavity, larynx;
- active organs of speech are moving organs that produce the main work necessary for the formation of sound. These include the tongue, lips, soft palate, small tongue, epiglottis, vocal cords. The vocal cords are two small bundles of muscles attached to the cartilages of the larynx and located almost horizontally across. They are elastic, they can be relaxed and strained, they can move apart to different widths of the solution;
- the brain, which coordinates the work of the organs of speech and subordinates the technique of pronouncing the creative will of the speaker.
The organs of speech are presented in the following figure:
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1 - hard sky; 2 - alveoli; 3 - upper lip; 4 - upper teeth; 5 - lower lip; 6 - lower teeth; 7 - the front part of the tongue; 8 - the middle part of the language; 9 - the back of the tongue; 10 - the root of the tongue; 11 - vocal cords; 12 - soft palate; 13 - tongue; 14 - larynx; 15 - trachea.
Diction
Introduction
Distinct, legible speech is the politeness of any speaker towards the listener.
The skills of correct speech are formed in early childhood and are largely dependent on the influence of others - the child learns to speak on the example of the speech of his parents and other adults. If the speech environment in which the child was growing up was unfavorable, then, entering adulthood, a person quite often experiences discomfort in the process of speaking and various psychological clips in communication, especially if there are serious dictionary drawbacks in speech.
Each sound that is part of a word participates in the transmission of the content of the word, its meaning and meaning, so it is important to learn how to speak without distortion of the sounds of the Russian language.
Good diction means clarity, clarity of pronouncing words and phrases, impeccability of the sound of each vowel and consonant. The purity of diction helps expressively and accurately convey your thoughts to the listener. The vagueness of diction, the presence of any flaw (burr, lisp, etc.) distract the attention of listeners from the content of speech.
Good diction depends largely on the correct articulation, i.e. from the movement of the pronunciation organs, which include the tongue, lips and jaws (teeth). These organs are active articulators in contrast to the alveoli (tubercles behind the teeth), hard and soft palate, which are also involved in sound pronunciation, but passively.
Defects of diction can be associated with defects in the structure of the pronunciation organs of the vocal apparatus. This is the so-called organic violation. These include:
1. Language deficiencies:
a) too large, slow language, or too narrow, small, which complicates the correct articulation; a clumsy, thick tongue prevents the correct formation of many sounds.
b) shortened frenulum of the tongue (hyoid ligament), which prevents the tongue from rising high to pronounce the sounds of the upper row, for example: p, w, g, e.
2. Disadvantages associated with the structure of the jaws and teeth:
a) abnormal bite (gap between the teeth when closing the jaws);
b) large crevices between the teeth.
c) too extended lower or upper jaw, sparse, crookedly set teeth form a wrong bite and cause incorrect pronouncing of hissing sounds of w, f, u, whistling sounds with s, s and affricat q, h.
3. The disadvantages associated with the wrong structure of the sky ("Gothic" palate).
4. Lack of lips: for example, thick lips, often with a pendulous lower lip, a shortened or elongated upper lip, these shortcomings make it difficult to pronounce a precise pronunciation.
These deficiencies are of organic origin; they require the intervention of speech therapists and dentists.
Dictational training will help to solve other problems - to correct the deficiencies in the sound pronunciation and to improve the intelligibility of speech in people with functional violations of pronunciation.
For the development of correct speech requires full hearing. Through hearing control, a person notices a mistake and can correct it. Deficiencies of hearing - hearing loss, lack of development of speech (phonemic) hearing - also lead to a tongue-tied speech. But the ear can be developed in the process of training, it is confirmed by years of research and practice.
MAIN TYPES OF DICTION DISADVANTAGES
(Functional pronunciation disorders)
There are a large number of arcane flaws that are not related to the organic base. These are the so-called functional disorders.
What is the reason for dictionary deficiencies if there are no defects in the articulatory apparatus? What is the cause of bad diction?
First, it is sluggish articulation, i.e. insufficient mobility of the articulation organs: tongue, lips, lower jaw; KS Stanislavsky compared such a speech with flies caught in honey. Lips while barely moving. The teeth are almost compressed, the lower jaw does not sink well;
secondly, it is a distortion of sounds, i.e. inaccurate pronunciation of sounds of Russian speech, for example: burr or lisp;
thirdly, the absence of sounds, i.e. the loss of sounds at the beginning, middle or end of words. For example: instead of weaving a weaver of cloth — ket kach kani, instead of listening — drying, instead of shar-sha, etc .;
fourthly, it is the replacement of sound, when one sound is replaced by another, existing in the language system. For example: instead of milk - movoko;
fifth, it is weak breathing, because in case of insufficient exhalation energy, the ends of words in the phrase are not heard due to the lack of silence of the last sounds. The activity of articulators, especially of the lips and tongue, is also impossible with weak breathing.
If there are deficiencies of inorganic origin, everyday work and systematic self-control give good results. The key to success is the habit of developing a clear articulation of each consonant and vowel, as required by the nature of the language. In life, careless articulation is perceived as disrespect for the interlocutor.
Clarity and intelligibility of the speech flow provide consonant sounds, they form, as it were, the framework of our speech. If without vowel sounds speech is unmelodious or inconsistent, then without precise consonant sounds speech is incomprehensible, formless.
“The vowels are a river, the consonants are the banks,” wrote K.S. Stanislavsky. Accuracy of pronunciation of consonants is the main task in the work on diction.
First of all, it is necessary to realize the reasons for the shortcomings of your speech and learn how to consciously correct these shortcomings. According to K. S. Stanislavsky, “pronunciation is an art no less difficult than singing, requiring a lot of preparation and technique, reaching virtuosity.”
Before you start training the pronunciation of vowels and consonants, it is useful to carry out preparatory exercises for the lips and tongue each time (see the exercises in the section “Articulation”).
Methods
You are invited to diktsionny training, which includes the following parts:
1. Articulation gymnastics (a set of exercises that develop the mobility of the muscles of the vocal apparatus).
2. The rules for pronouncing vowels and consonants (articulation or the position of the tongue, lips and jaws during the pronouncing of a sound).
3. Correction of “sick” sounds (where to begin work on correcting one’s deficiency and how to reinforce correct pronunciation skills).
4. Complicated diktsionny training to improve speech.
We offer to carry out work on the correction of dictational defects in the following sequence:
1. Carefully read the description of the articulation structure of a consonant sound.
2. Find a mistake in your own articulation system.
3. By controlling the position of the articulation organs, using sensations to achieve the correct sounding (it is useful to use a mirror to facilitate the task),
4. Train the correct sound pronunciation, performing the proposed exercises.
5. Follow the correct pronunciation in everyday speech.
Articulation
Introduction
Articulation gymnastics is a preparatory stage in the work on diction.
It aims to train the muscles of the vocal apparatus, to achieve their free mobility. Pay attention to the fact that during the execution of articulation gymnastics the load was directed only to the muscles necessary for the work. Especially watch out for the freedom of the muscles of the neck and shoulder. To achieve maximum efficiency, the pace of articulation exercises should be super-slow. Having done articulation gymnastics and making sure that all parts of the speech apparatus are actively working separately, pay attention to general articulation during a conversation or reading texts. Speech should be intelligible, but unobtrusive!
It is necessary to do exercises accurately, precisely, performing the specified movements of the lips, jaws, tongue. To control yourself during a workout, we recommend using a small mirror first. For accurate pronunciation, a well-developed, well-developed motility of articulation organs is necessary. Indeed, in the stream of speech there is a quick change of micromovements of the tongue, lips, soft palate.
Repetition of movements well warms up the muscles of the articulatory apparatus, prepares it for sounding. Include these exercises in daily voice training.
Each exercise should be done 6-8, then 8-16 times.
It is recommended to use a mirror to control, better desktop (small) or pocket, so as not to disperse attention.
Classes should be held daily for 20-30 minutes, better in the morning, after physical gymnastics.
If there are signs of organic irregularities, the articulation gymnastics should be carried out repeatedly during the day, be more intense and take significantly longer. At the same time, before the start of gymnastics, it is useful to carry out hygienic and vibrating massage of the facial muscles (see section “Voice - Voice Exercises” of this program).
Work on sound combinations
Syllabic tables are designed to train the correct pronunciation of consonants in complex sound complexes. Difficult combinations, composed in syllable chains, make it possible to maximally load the speech muscles, develop their activity and mobility.
The syllable chains are given with a vowel training line adopted at the St. Petersburg Theater School:
U - O - A - E - I - S
U - Yo - I - E - And - And
And in the Moscow drama school (GITIS, Moscow Art Theater School, etc.):
I - E - A - O - U - S
And - E - I - E - U - I
How to work with this chain?
Suppose given the sound combination stree.
We work on the first chain.
Pronounced: strustro-stra-stra-stra-stry stry.
On the second chain: strut-strö-str-stre-stre-stree.
The Moscow school will be: stream-stra-stra-stro-stru-stru-stru.
And the last chain: Stree-Stree-Strya-Stroe-Strie-Stree.
When working out monosyllabic chains, it is useful to repeat them repeatedly with varying stress:
structure - stra - stra - stry - stry
structure - stra - stra - stry - stry
structure - stra - str - strystry, etc.
The change of stress introduces a rhythm into the dick training, and this entails qualitative changes in the articulation and acoustic characteristic of the speech links. When working out two-syllable and three-syllable combinations, you should try to pronounce them as a single word, with the emphasis on the 1st syllable:
I 'am nous
Siu'n-chun-yun
It is very useful to do syllabic exercises to the rhythm of a melody. This relieves muscular and psychological stress, helps to master the unusual sound combinations more easily.
For example: using the melody of the Russian folk song "There was a birch in the field," instead of words, say, singing:
On the 1st line of the melody
stream - stream, etc.
On the 2nd line
stroy stroy stroy stroy etc.
On the 3rd line
country - country ...., etc.
On the 4th line
strut - strut - strut .... etc
On the 5th line
stri - stri, etc.
On the 6th line
str - str - str, etc.
On the 7th line
stream - stream, etc.
Training diction tables give room for imagination. Syllables can be swapped, you can create new versions of sound systems from the proposed sounds, you can think of your own.
Work on patters
Getting to work on patters, you need to remember: first, they need to be pronounced at a slow or medium pace, like chatter. Only by achieving accuracy and clarity of pronunciation, you can begin to increase the pace to the maximum possible. Patters almost always use familiar concepts and words, but combine them into funny, original, short stories. Speakers are brief, concise, dynamic and rhythmic. They contain apt remarks, comic cases, anecdotal nonsense, and always end unexpectedly, unpredictably and in an original way. Speakers require the mobility of the articulatory apparatus and a quick reflection of long and confused words.
Speakers are unique material for work on diction. With their help, you can achieve clarity in the pronunciation of many difficult combinations of consonants found in Russian.
The material for dictational training can also serve as a variety of difficulties and long-sayings, which can be thought out by yourself using various verbal and rhythmic combinations.
For example:
You are my spoon
gullet-fibrous
yes with pripodvyvodvert.
Engineers
leveled
leveled
Yes, they did not extort.
Our motorcyclist
your rider
pemototsiklit,
peremototsiklit.
Laryngologist,
deftly maneuvering in laryngology,
cured laryngitis easily;
dentist,
deftly dodging in dentistry,
easily cured stomatitis, etc.
With an increase in tempo, with a spelling, it is advisable not to lose the meaning inherent in the text.
Dictation training should be carried out systematically, starting with the articulation warm-up.
It is better to start working on patters after the articulation of each “sick” sound is mastered and worked out on the material of the training dictation tables.
With a creative approach, dictational training can be not only useful, but also exciting.
In order to increase the effectiveness of dictation training, it is useful to record your speech using the Microphone function of this program, listen to the recording and correct the noticed errors. It is very important to monitor your speech in everyday life.
The activity of the actor’s diction depends to a great extent on exact knowledge, he says this or that text in a variety of ways. It is completely unacceptable mechanical, meaningless spelling of the text.
Long-term observation has shown that tongue twisters are remembered more quickly and will be cleaner at any pace and repeated many times when the student remembers and “sees” what he is talking about and knows exactly what he is learning. and the text of the tongue twister was sent.
It is necessary to begin work on patters at a slow pace, having precisely defined its semantic direction in each patter, imagining very simple and concrete life circumstances under which the text can be repeated.
1. Short tongue twisters can be repeated completely several times in a row, for example: Rigoletto libretto (with the effective task of selling a libretto).
2. In other patters, it will be more convenient and more logical to repeat only two or three words of the tongue twister: Shelled the potter, but I’m not up to the pithouse, not up to the pithouse, not up to the pitotry, not up to the pitot wife (with the effective task of abandoning the talk on the pithouse).
3. In some patter to clarify the thoughts, you can rearrange the word order: Mom Romashe gave the serum from under the sour milk; from under yogurt gave mother Wheat Romashe; gave mother serum from under yogurt milk Romashe (for example, with an effective task to calm the partner: Romash is full! He was fed by mother again!).
4. In some cases, during training, you can combine the following closest in meaning: Incident with quartermaster, incident with quartermaster, a quarter of peas without a wormhole, without a wormhole quarter of a quarter of a pea (with an effective task to catch the quartermaster: chose the best pea!).
It is absolutely necessary, when working on the patter, to avoid the single-numbered rendering of the text.
Expressiveness and diversity of intonation helps, as we said above, the ability of an actor to evaluate facts, to be able to entice a partner. Therefore, any pauses (not empty, but filled with internal speech), the method of opposition and comparison - make it possible even in small texts such as tongue twisters to use expressive means of voice: strength and lightness, raising and lowering voice, changing tempo, voice range, in short, all the richness of human speech.
As with any work on the text, it is strictly forbidden to "miss the words" tongue twisters in space. In life, a person always has a companion for the exchange of thoughts, there is a goal, a task, an attitude both to what you are talking about and to whom and why you are talking. So in the patter there is always "material" for dialogue with a partner.
All work on the technique of speech should be checked by words, text, and everything that is expressed in words should be meaningful, bright, convincing. This should not be forgotten in the work on patter.
When a student has clarified the circumstances of these small texts that are interesting to him and mastered the articulation of difficult combinations of consonants, one can gradually speed up the rate of speech, but again not mechanically, but accurately determining under what life circumstances fast speech is necessary. In some cases, you can begin to say the patter slowly, gradually speeding up the pace, justifying it in the repetition process.
Sometimes, when the meaning of the text allows, you can dramatically change the tempo when repeating, you can use the power and lightness of the sound. Just do not forget that the simultaneous use of force and speed harms accurate diction. We divided the tongue twisters into three groups, selecting them for training in groups of consonants.
Work on patter can be started after the articulation of each sound and sound combination is verified and fixed in its correct pronunciation.
If the patter is still mastered with difficulty, it is useful to train it first silently and very slowly, and only then at a faster pace.
Catch patters should start with the lungs, gradually adding to the more difficult and complex. If there are defective sounds in speech, then you should not start working on patters that have these sounds. First you need to get rid of the shortcomings of speech.
Work with monophones
Monofon is a short story, all words of which begin with one sound.
Exercises with monophones (reading and writing) contribute to enhancing pronunciation, expand vocabulary, form the speaker's style, expand the horizons of elocution and contribute to the formation of speech.
Monophones are recommended to read expressively out loud. The maximum benefit will bring the compilation of its own monophone for each letter of the alphabet.
Lips. Lip exercise
  1. Introduction
    Perform exercises designed to combat lethargic, sedentary lips.
    After each exercise and at the end of the entire lip block, it is recommended to perform the “Talker” exercise, which will be given below.
    Exercises are recommended to be done at an extra-slow pace, this will allow you to work through each area of ​​the speech apparatus more fully.
  2. Chatterbox
    Lips slightly closed and relaxed.
    With a strong jet of air to make the lips vibrate, a lip sounding should appear, resembling the snorting of horses: pr-rr.
    At each expense - exhale with vibration.
    It is recommended after each exercise for the lips to do the exercise “Chatter” to relieve the tension of the lips.
  3. Shutters
    First part
    Pull up the upper lip, exposing the upper teeth (for a smile); gums of the upper teeth should not be visible. At the time of tightening the lips, the muscles of the face are in a calm state, the teeth are not clenched.
    The second part of
    Pull the lower lip to the lower gums, exposing the lower teeth, the jaw is not strained.
    The third part
    Alternate upper and lower lip movements:
    a) raise the upper lip (open the upper teeth);
    b) lower the lower lip (open lower teeth);
    c) lower the upper lip (close the upper teeth);
    d) raise the lower lip (close the lower teeth).
    During these movements, the jaw is free, the teeth are not clenched.
    The movements of the lips resemble the movement of the shutters, which in turn open and close.
    Make sure that during these movements the lip does not “pull out”, but rather crawls over the upper-lower teeth, “slid” over them.
  4. Kiss
    First part
    At the expense of "time" - the lips are pulled forward, as for a kiss.
    At the expense of "two" - stretch to a smile, exposing the upper teeth, jaws open.
    The movements of the lips and jaws resemble active chewing.
    The second part of
    At the expense of "time" - the lips are pulled forward, as for a kiss.
    At the expense of "two" - stretched to a smile, without exposing the upper teeth, the jaws do not open.
    Perform a change of position repeatedly on the acceleration rate.
    Exercise determines the motor capabilities of the lips. (Accuracy of performance guarantees the quality of the pronunciation of sounds p, b, c, f).
  5. Horizontal
    Collect the lips in the "penny" (pull the lips forward, as for a kiss).
    At the expense of "one" - "penny" moves to the right.
    At the expense of "two" - "penny" moves to the left, i.e. "Piglet" tends to the right, then to the left corner of the lips.
    To achieve the maximum effect in this exercise - try to keep the sensations of the lips stretched for a kiss throughout.
    If it is difficult to keep the shape of “patch” - you can first use the index fingers, holding the form with the middle phalanges so that it does not fall apart.
  6. Vertical
    At the expense of "one" - "penny" is moving up to the nose.
    At the expense of "two" - the penny moves down to the chin, i.e. "Piglet" makes movement vertically.
  7. Cross
    At the expense of "one" - "penny" moves up.
    At the expense of "two" - the penny moves down.
    On the count of "three" - "penny" moves to the left.
    At the expense of "four" - "penny" moves to the right.
  8. Circles
    Assemble the lips in the "penny" and make a "piglet" circular movements, first clockwise, then counterclockwise. Only lips work.
  9. Buzzubaya old woman
    First part
    Starting position: mouth slightly open (jaw slightly lowered). The upper lip, closing the upper teeth, firmly tightens on them, so that the edge of the upper lip is slightly bent inside the mouth. Then the upper lip, stretching to the sides, slides up, revealing the upper teeth, and returns to its original position.
    All attention should be directed to the sliding movement of the upper lip.
    The second part of
    The starting position is the same. The lower lip, closing the lower teeth, firmly tightens on them, so that the edge of the lower lip is curved into the mouth. Without long lingering in this position, the lower lip is pulled down, exposing the lower teeth, and returns to its original position.
    The third part
    Simultaneous sliding movement of both lips. The initial position and nature of the movements are the same as in the previous parts of the exercise.
  10. Scratching
    At the expense of "time" - the lower teeth scratch the upper lip.
    On the count of "two" - the upper teeth scratch the lower lip.
    Exercise can be done fairly quickly, if you hold your teeth on the lip with one scratching motion, with a quick change of lips.
  11. Rinsing
    We roll a balloon in the mouth, driving it one cheek, then another, under the upper lip, under the lower lip. Then, straining the cheeks and lips, we try to overcome their resistance and push the air out of the mouth cavity to the outside. After doing the exercises in the lips should feel a slight tingling. We relieve tension exercise “Chatterbox”.
  12. Inflatable ball
    We maximally draw our cheeks into the oral cavity, as if we “suck” them, and then inflate them to the maximum.
  13. Fish mouth
    Thumb or forefinger of both hands push the cheeks between the upper and lower jaw into the oral cavity, bringing its corners closer. Both lips at the same time will be issued forward, resembling a fish mouth. In such a position to say tongue twisters, saturated with lip and lip sounds, requiring active lip closure: b and n. For example: "The bull is stupid, the stubby goby, the bull has a white lip at the bull", "From the clatter of hoofs, dust flies across the field," peak "and others. Then, without a pause after the exercise done, say the tongue twisters.
Tongue. Exercises for language development
  • Introduction
    Exercises will help you to develop full-fledged movements of the language, necessary for the correct pronunciation of sounds.
    If in the process of work the language starts to get tired - it is recommended to perform “Talker” with the tongue - to talk tongue from mouth to mouth: bl-bl-bl, trying to keep the language completely relaxed.
    Exercises are recommended to be done at an extra-slow pace, this will allow you to work through each area of ​​the speech apparatus more fully.
  • Hour hand
    Rotate the tongue behind closed lips in a clockwise direction. Jaws open. Tongue strokes the upper and lower gums. Turn your tongue behind the lips counterclockwise.
  • Injections
    The lips are closed, the jaws are open. The tip of the tongue "prick" the cheek on the inside.
    From a relaxed position, a sharp "prick" in the right cheek. Then the tip of the tongue slowly returns to the center. Reaching the center - "prick" in the left cheek.
  • Sting
    First part
    Starting position: mouth half open; the tongue lies flat with a small depression in the back; its tip slightly touches the lower front teeth, the root is lowered, as if at the moment of a yawn. To stick out the tongue as much as possible from the mouth (rolls out towards the tip of the chin), and then draw in as deeply as possible, so that only a muscle lump is formed, the tip of the tongue becomes imperceptible. Then the language returns to its original position.
    The second part of
    As in the first part, but stick out the tongue exactly forward. The tip of the tongue should be sharp. At the expense of "once", it is as if to "sting" the enemy with a sharp tongue. And at the expense of "two" - to hide the "sting" deep in the mouth.
  • Cup
    Mouth open. A wide tongue to pop out of the mouth in the form of a cup (to obtain this form, just bend the tip of the tongue slightly up). Hold the tongue in this position for 8-10 seconds and put it in your mouth.
    At the expense of "one" - stick out the tongue, bent up.
    On the count of "two" - remove, relaxing.
  • Tubule
    Put the tongue on the lower lip and try to roll it into a tube, lifting the side edges. Inhaling through the nose, exhale through the "tube".
  • The apartment
    Suck the tongue to the palate so that its lateral edges lie against the upper dentition, and the front end to the hard palate. The position of the tongue should be symmetrical with respect to the midline of the palate. Try to open your mouth as wide as possible, keeping the tongue in position. Thus, the sublingual ligament (“bridle”) will be stretched. Then click the language, strongly tearing the language with sound.
    At the end of the exercise "to kick", speeding up the pace.
    When performing the exercise, you can help the tongue to suck, pressing it with the thumbs of both hands.
    Exercise helps to determine the muscular strength of the tongue, especially its lateral edges and tip (hissing, l, p). This exercise almost always reveals the organic nature of the abnormalities: defects in the structure of the hypoglossal frenulum (which limits the vertical movement of the tongue) or deficiencies in the innervation of the tongue.
    If the tongue comes off and sags from any side, this indicates a violation of the innervation of the site. Very often, such violations lead to the defective - side - pronouncing a number of sounds: r, w, w, u, h, s, s, c. At the same time, an unpleasant squelching tone is heard - the air jet loses its true central direction and through the lowered lateral edge of the tongue hits the cheek.
  • Horse
    Open your mouth, click your tongue with a stationary lower jaw. It is necessary to ensure that the back of the tongue does not work, not one of its lateral edges, but the entire front part. Only in this case, the click will have a clear, clear character.
    The exercise reveals the level of muscle tone of the tongue, the ability to work actively in its front part and tip (hissing, l, p).
  • Shovel
    Starting position: mouth half open; the tongue lies flat with a small depression in the back; its tip slightly touches the lower front teeth, the root is lowered, as if at the moment of a yawn.
    Pushing the tongue out with a "shovel" (i.e., the tongue is given a flat, wide shape) so that it touches the corners of the mouth with its side edges. Then put the language to its original position.
  • Painter
    Opening the mouth, hold the tip of the tongue, like a paint brush, on a hard palate
    deep into the mouth and back. The tip of the tongue does not tuck.
    Exercise determines the motor capabilities of the language vertically.
  • Spy
    The tip of the tongue protrudes from the mouth and crawls along the upper lip, up to the tip of the nose, and then goes back to the “shelter”. Having reached it, the “spy” crawls on the lower lip and lower to the chin. The spy tongue crawls very slowly, as if in a minefield.
    At the expense of "time" - spy tongue crawling to the nose.
    At the expense of "two" - spy tongue crawling to the chin.
  • Mat
    First part.
    Turning the tip of the spread tongue up and hooking it with the upper teeth from the bottom side, suck in, pull in (as if rolling) into the oral cavity so that it touches the soft palate. Massage the soft palate with the tip of the tongue. Yawn, "expanding" the language. Exercise to perform almost with the mouth closed.
    The second part of
    It is done in the same way as the first, but it is necessary to “unfold” the language, then on the one, on the other, while carefully monitoring that the movement is very slow, the language does not “spill out” of the mouth.
    The second part of the exercise allows you to identify the weak side of the language. If, for example, turning the tip on the left side, you encounter the fact that it falls out uncontrollably, and on the right side of this is not observed - then the left side of the tongue is weaker. Give her more attention in the training.
  • Outer cross
    First part
    The tip of the tongue alternately touches the upper lip (if possible - the tip of the nose), lower, left corner of the lips, right corner.
    The second part of
    Having opened the mouth, we try to reach with the tongue up to the tip of the nose, to the edge of the chin, the left cheekbone, the right cheekbone, to any object placed in front of the mouth. We do not throw back the head, the chin is lowered.
    Identifies the ability of the language to spatial orientation, switchability from one type of movement to another. Helps determine motor abilities
    language in all directions.
  • Swing
    Having opened the mouth, alternately touch the tip of the tongue to the upper, then lower teeth
    from the inside. Perform an exercise to accelerate the pace.
    Exercise reveals the motor capabilities of the language vertically (l, p, hissing - w, l, n, h).
  • Inner cross
    Starting position: the mouth is wide open; the tongue lies flat with a small depression in the back; its tip slightly touches the lower front teeth, the root is lowered, as if at the moment of a yawn.
    The lower jaw is motionless. The tip of the tongue rises to the top (by the teeth), then goes down (by the teeth), then the injections in the right and left cheek.
    To do the movements precisely and accurately, without smearing.
    Identifies the ability of the language to spatial orientation, switchability from one type of movement to another.
  • Gorka
    The tip of the tongue to rest on the lower teeth. Press the side edges of the tongue against the upper molars. The wide tongue (or the back of the tongue) “roll out” forward in a slide and move deep into the mouth.
    At the expense of "time" - the back of the tongue rolls out.
    At the expense of "two" - the back of the tongue is removed back.
    The mouth is open and locked in one position. The lower jaw remains motionless.
    Exercise "Hill" determines the mobility of the back of the tongue (s, s, c)
  • Stroking
    The mouth is ajar. The tongue begins the stroking motion from the upper teeth to the alveoli, then along the hard palate and, curving inwards, strokes the soft palate. Returns through the palate to the teeth.
    At the expense of "time" - the tongue moves from the teeth to the soft palate.
    On the count of "two" - the tongue moves from the soft palate to the teeth.
    Exercise promotes good stretching of the hyoid ligament.
  • Machine gun
    The mouth is ajar. The tip of the tongue touches the roots of the upper teeth. Scribbled tongue like a machine gun with the sounds of ttttttttt, then with the sounds of ddddddd.
  • Figures
    First part
    Alternately protruding the tongue with a "spade" or "sting".
    The exercise makes it possible to identify the ability of the language to quickly change shape. The jiggle of the tongue in the "spatula" position indicates a violation of its innervation.
  • Snake
    Slightly open mouth. The tip of the tongue to slide along the lower teeth left-right (reaching approximately the "canines"), trying to maintain a rhythm and maximum speed.
    Exercise allows you to identify the work of all the muscles of the tongue. If they are front, side, back muscles of the tongue work correctly, then the assembled tongue will make a snake very quickly (the movement will resemble a real movement of the snake tongue).
Jawbone Jaw exercises

Larynx

Letters






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Now: 07/19/19, 11:59