What is a choir. Choir types are mixed female male. Choir definition

(vocal trio, quartet, quintet, etc.) by the presence of at least two (according to P. Chesnokov, three) or more people performing the same part.

Most often the choir includes four choral parts: soprano, alto, tenor, bass. But the number of parties is, in principle, not limited, since each of these main parties can be divided into several relatively independent parties (this phenomenon is called divisions among musicians): in Vasily Titov's partisan concerts, there are 12 or more choral parts; "Stabat Mater" by Krzysztof Penderecki was written for a triple choir of 4 voices each (a total of 12 choral parts).

The choir can sing with or without instruments. Singing unaccompanied is called a cappella singing. Instrumental accompaniment can include almost any instrument, one or more, or an entire orchestra. As a rule, at rehearsals of the choir, in the process of learning a piece written for a choir and orchestra, the orchestra is temporarily replaced by a piano; the piano is also used as an auxiliary instrument in the practice of a cappella choral pieces.

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✪ Turetsky Choir - Wandering Artists (Saturday evening)

✪ Turetsky Choir - "Wandering Artists"

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History

Ancient Greek choirs, used during tragedies, were one of the first singing groups. But unlike modern drama and theater, he himself was not a character, but played the role of public opinion, which determined the choice of other characters. The ancient Greek choir always sang with one voice, either unaccompanied, or to the guitar, which also played in unison with the choir.

Early Christianity adopted the ancient tradition, and until the X-XII centuries the choirs sang only in unison or octave. Then began the division of voices into low and high and the emergence of different parties for them. Until the 15th century (and in church chants - until the 17th century), the choir consisted only of men (with the exception of the nuns' choirs).

Choir types

Under the name choir type understand the characteristics of the performing collective according to the constituent groups of singing voices. It is known that singing voices are divided into three groups - women, men and children. Thus, a choir that brings together the voices of one group is called homogeneous, and a choir that has combinations of female (or children's) and male voices or singing voices of all groups is called mixed. In performing practice, four types of choirs are widespread: women, men, children, mixed.

• mixed choir(the most common type of choir) - consists of female and male voices. The female voices make up the sopranos and altos parts, the male voices make up the tenors and bass parts. Within each part there is usually a division into first (higher) and second (lower) voices: sopranos I and II, altos I and II, tenors I and II, basses I and II;
• choir of boys and youth- consists of the same four main parts as mixed, but the soprano part is performed by boys called treble, the alto part is performed by low boy voices; the parts of tenors and basses in such a choir, as well as in a mixed one, are performed by men;
• male choir- consists of tenors and basses, with the division of each part into two voices: the first (high) and second (low) tenors and the first and second basses. The part of the first tenors can be expanded at the expense of countertenor singers who sing (in falsetto) an even higher part, which is outside the usual male vocal range in tessiture;
• female choir- consists of sopranos and altos, with the division of each part into two voices: the first and second sopranos and the first and second altos;
• children's choir- consists of two parts: soprano (treble) and altos, sometimes of three - soprano (treble) I and II, and altos; other options are also possible.

The minimum number of singers in one choir part is 3.

From the point of view of the manner of singing, there are:

• academic choirs- singing in an academic manner. The academic manner of singing is based on the principles and criteria of musical creativity and performance, developed by a professional musical culture and traditions of centuries-old experience of opera and chamber genres;
• folk choirs- singing in a folk manner. The genre features of Russian folk choirs are: reliance on local or regional traditions of everyday folk singing; use of natural register sounding of voices; sub-voice-polyphonic chant of the song as the basis of choral polyphony.

Choral singing

By the number of participants, they are distinguished:

• vocal and choral ensemble- from 12 to 20 participants;
• chamber choirs- from 20 to 30-50 participants;
• middle choirs- from 40 to 60-70 participants;
• big choirs- from 70 to 120 participants;
• combined choirs- up to 1000 participants, gather for a while from different teams. Such compositions have the status of “happening-performance” and do not belong to the performing arts per se, as they are rather a propaganda and educational direction.

Choirs can have different statuses, for example, professional, amateur (amateur), church and educational choirs.

see also

Notes (edit)

Literature

• Anisimov A.I. Conductor-choirmaster. Creative-methodical notes. - L .: "Music", 1976. - 160 p.
• Asafiev B.V. About choral art: Sat. articles / Comp. and comments. A. Pavlova-Arbenina.- L .: Muzyka, 1980.- 216 p.
• Vinogradov K. Work on diction in the choir. - M .: Muzyka, 1967.
• Dmitrevskaya K. Russian Soviet choral music. Issue 1.- M .: Soviet composer, 1974.
• Dmitrevsky G. Choir studies and choir management - Muzgiz, 1957.
• Evgrafov, Yu. A. An elementary theory of manual choir management. - M .: Music, 1995
• Egorov, A.A. Theory and practice of working with the choir / A. A. Egorov. - L.; Moscow: Gosmuzizdat, 1951.
• Zhivov, V. L. Performing analysis of a choral piece. - M .: Music, 1987.
• Zhivov V.L. Choral Performance: Theory. Methodology. Practice. - M .: Vlados, 2003.
• Ilyin V. Essays on the history of Russian choral culture.- Moscow: Soviet composer, 1985.
• S. A. Kazachkov Choir conductor - artist and teacher / Kazan. state Conservatory, Kazan, 1998, 308 p.
• S. A. Kazachkov From lesson to concert.- Kazan: Publishing house of Kazan University, 1990.- 343 p.
• Krasnoshchekov V. Choral Studies. - M .: Music, 1969.
• Lokshin D. Wonderful Russian choirs and their conductors. - M .: Muzgiz, 1963.
• Nikolskaya-Beregovskaya K.F. Russian vocal and choral school: From antiquity to the XXI century - M .: Vlados, 2003. ISBN 5-691-01077-8
• In memory of A.V. Sveshnikov. Collection of articles, ed. S. Kalinin. - M .: Music, 1998.
P.G. Chesnokov Choir and management. A guide for choral conductors. Ed. 3rd - M., 1961.
• Shamina L.V. Work with an amateur choral group.- M .: Muzyka, 1981.- 174 p.]
• V. I. Sadovnikov Orthoepy in singing. - M., 1958 .-- 80 p.
• Riemann, Hugo. Musical dictionary: CD-ROM / per. with him. B.P. Yurgenson, ext. Russian separation. - M.: DirectMedia Publishing, 2008.

From arafans to the floor, kokoshniks and song art. Russian folk choral groups with the title of "academic" - as a recognition of the highest level of stage mastery. More details about the way of the "populists" to the big stage - Natalia Letnikova.

Kuban Cossack Choir

200 years of history. Songs of the Cossacks - either a horse march, or a foray on foot under "Marusya, one, two, three ..." with a valiant whistle. 1811 is the year of the creation of the first choir group in Russia. Alive historical monument, which carried the Kuban history and singing traditions of the Cossack army through the centuries. The spiritual enlightener of the Kuban, Archpriest Kirill Rossinsky and the choir director Grigory Grechinsky, stood at the origins. Since the middle of the nineteenth century, the collective not only participated in divine services, but also gave secular concerts in the spirit of a reckless Cossack freelancer and, according to Yesenin, “merry longing”.

Choir named after Mitrofan Pyatnitsky

A collective that has proudly called itself "peasant" for a century. And let professional artists perform on the stage today, and not the usual vociferous peasants-Great Russians from Ryazan, Voronezh and other provinces, the choir presents folk song in amazing harmony and beauty. Every performance is as admirable as it was a hundred years ago. The first concert of the peasant choir took place in the hall of the Noble Assembly. The audience, including Rachmaninov, Chaliapin, Bunin, left after the performance shocked.

Northern Folk Choir

A simple rural teacher Antonina Kolotilova lived in Veliky Ustyug. She gathered fans of folk songs for handicrafts. On a February evening, they sewed linen for the orphanage: “The smooth, soft light falling from the lightning lamp created a special comfort. And outside the window, the February bad weather raged, the wind whistled in the chimney, thundered with the boards on the roof, threw snow flakes out the window. This discrepancy between the warmth of a cozy room and the howl of a snowstorm made me feel a little melancholy. And suddenly a song sounded, sad, drawn-out ... " This is how the northern tune sounds - 90 years. Already from the stage.

Ryazan Folk Choir named after Evgeny Popov

Yesenin's songs. In the homeland of the main singer of the Russian land, his poems are sung. Melodic, piercing, exciting. Where a white birch is not a tree, or a girl, frozen on the high bank of the Oka. And the poplar is certainly "silvery and light". The choir was created on the basis of the rural folklore ensemble of the village of Bolshaya Zhuravinka, which had performed since 1932. The Ryazan Choir was lucky. The head of the ensemble, Evgeny Popov, himself wrote music to the verses of a fellow countryman who had an amazing sense of beauty. They sing these songs - as if they are telling about their life. Warm and gentle.

Siberian folk choir

Choir, ballet, orchestra, children's studio. The Siberian choir is multifaceted and in tune with the frosty wind. Concert program"Yamshitsky Skaz" is based on the musical, song and choreographic material of the Siberian Territory, as well as many scenic sketches of the collective. The creativity of Siberians was seen in 50 countries of the world - from Germany and Belgium to Mongolia and Korea. They sing about what they live. First in Siberia, and then throughout the country. How did it come about with Nikolai Kudrin's song "Bread is the Head of Everything", which was first performed by the Siberian Choir.

Voronezh Russian Folk Choir named after Konstantin Massalitinov

Songs in the front line in those hard days, when, it would seem, is not at all up to creativity. The Voronezh choir appeared in the working village of Anna at the height of the Great Patriotic War- in 1943. The first to hear the songs of the new team were in the military units. The first big concert - with tears in his eyes - took place in Voronezh, liberated from the Germans. The repertoire includes lyric songs and ditties that are known and loved in Russia. Including thanks to the most famous soloist of the Voronezh Choir - Maria Mordasova.

Volga Folk Choir named after Pyotr Miloslavov

“The steppe wind walks on the stage of the Châtelet Theater and brings us the aroma of original songs and dances”,- wrote the French newspaper L'Umanite in 1958. Samara-town presented the song heritage of the Volga region to the French. Performer - Volga Folk Choir, created by the decision of the Government of the RSFSR in 1952 by Pyotr Miloslavov. Unhurried and emotional life along the banks of the great Volga and on stage. Ekaterina Shavrina began her career in the team. The Volga Choir performed the song "Snow White Cherry" for the first time.

Omsk folk choir

Bear with balalaika. The emblem of the renowned collective is well known both in Russia and abroad. "Love and pride of the Siberian land", as the team of critics dubbed it on one of their foreign trips. “The Omsk Folk Choir cannot be called only a restorer and keeper of an old folk song. He himself is a living embodiment folk art our days ",- wrote British The Daily Telegraph. The repertoire is based on Siberian songs recorded by the founder of the collective Elena Kalugina half a century ago and bright pictures from life. For example, the "Winter Siberian Fun" suite.

Ural folk choir

Performances at the fronts and in hospitals. The Urals not only provided the country with metal, but also raised the fighting spirit with whirlwind dances and round dances, the richest folklore material of the Ural land. Under the Sverdlovsk Philharmonic, amateur groups from the surrounding villages of Izmodenovo, Pokrovskoe, Katarach, Laya united. "Our genre is alive", - they say in the team today. And to preserve this life is considered the main task. Like the famous Ural "Semera". "Drobushki" and "drumsticks" have been on the scene for 70 years. Not a dance, but a dance. Eager and daring.

Orenburg folk choir

Downy shawl as part stage costume... Fluffy lace intertwined with folk songs and in a round dance - as part of the life of the Orenburg Cossacks. The collective was created in 1958 to preserve the unique culture and rituals that exist "on the edge of vast Russia, along the banks of the Urals." Each performance is like a performance. They perform not only the songs that the people put together. Even dances literary basis... “When the Cossacks Cry” is a choreographic composition based on the story of Mikhail Sholokhov from the life of the villagers. However, every song or dance has its own story.

Depending on the gender and age of the singers, choirs can be classified as follows:

· mixed choir(the most common type of choir) - consists of female and male voices. The female voices make up the sopranos and altos parts, the male voices make up the tenors and bass parts. Within each part there is usually a division into first (higher) and second (lower) voices: sopranos I and II, altos I and II, tenors I and II, basses I and II;

· choir of boys and youth- consists of the same four main parts as the mixed one, but the part of the soprano is performed by boys - treble, the part of altos - countertenor - by young men singing in falsetto; the parts of tenors and basses in such a choir, as well as in a mixed one, are performed by men;

· male choir- consists of tenors and basses, with the division of each part into two voices: the first (high) and second (low) tenors and the first and second basses. The part of the first tenors can be expanded at the expense of countertenor singers who sing (in falsetto) an even higher part, which is outside the normal male vocal range in tessiture;

· female choir- consists of sopranos and altos, with the division of each part into two voices: the first and second sopranos and the first and second altos;

· children's choir- consists of two parts: soprano (treble) and altos, sometimes of three - soprano (treble) I and II, and altos; other options are also possible.

From the point of view of the manner of singing, there are:

· academic choirs- singing in an academic manner based on the standard of the European academic (opera and concert) singing tone;

· folk choirs- singing in a folk manner.

By the number of participants, they are distinguished:

· chamber choirs- from 12 to 30-50 participants;

· big choirs- from 50 to 120 participants;

· combined choirs- up to 1000 participants, gather for a while from different teams. Such compositions have the status of "happy performance" and do not belong to the performing arts per se, as they are rather a propaganda and educational direction.

Choirs can have different statuses.

· Professional choirs. They can be both independent and supported by the state. Consist of professional singers. Conduct regular concert activities.

· Amateur choirs unite people for whom singing in the choir is a hobby. They can exist at palaces of culture, clubs, municipalities, at organizations and institutions, at non-music educational institutions (a very common form), etc.: a choir of students, a choir of employees, a choir of veterans.

· Church choirs. Their main activity is participation in church services... Church choirs of a high musical level can also conduct concert activities. Both professionals and amateurs sing in church choirs. Artistic director church choir- a choirmaster - should be not only a choirmaster, but also an expert in church services.

· Study choirs exist in music educational institutions (music and pedagogical schools, colleges, conservatories, music academies, institutes of art and culture, etc.) that train professional personnel in the field of choral art and music education

Three) or more people performing the same part.

Most often the choir includes four choral parts: soprano, alto, tenor, bass. But the number of parties is, in principle, not limited, since each of these main parties can be divided into several relatively independent parties (this phenomenon is called divisions among musicians): in Vasily Titov's partisan concerts, there are 12 or more choral parts; "Stabat Mater" by Krzysztof Penderecki was written for a triple choir of 4 voices each (a total of 12 choral parts).

The choir can sing with or without instruments. Singing unaccompanied is called a cappella singing. Instrumental accompaniment can include almost any instrument, one or more, or an entire orchestra. As a rule, at rehearsals of the choir, in the process of learning a piece written for a choir and orchestra, the orchestra is temporarily replaced by a piano; the piano is also used as an auxiliary instrument in the practice of a cappella choral pieces.

History

Ancient Greek choirs, used during tragedies, were one of the first singing groups. But unlike modern drama and theater, he himself was not a character, but played the role of public opinion, which determined the choice of other characters. The ancient Greek choir always sang with one voice, either unaccompanied, or to the guitar, which also played in unison with the choir.

Early Christianity adopted the ancient tradition, and until the X-XII centuries the choirs sang only in unison or octave. Then began the division of voices into low and high and the emergence of different parties for them. Until the 15th century (and in church chants - until the 17th century), the choir consisted only of men (with the exception of the nuns' choirs).

Choir types

Under the name choir type understand the characteristics of the performing collective according to the constituent groups of singing voices. It is known that singing voices are divided into three groups - women, men and children. Thus, a choir that brings together the voices of one group is called homogeneous, and a choir that has combinations of female (or children's) and male voices or singing voices of all groups is called mixed. In performing practice, four types of choirs are widespread: women, men, children, mixed.

• mixed choir(the most common type of choir) - consists of female and male voices. The female voices make up the sopranos and altos parts, the male voices make up the tenors and bass parts. Within each part there is usually a division into first (higher) and second (lower) voices: sopranos I and II, altos I and II, tenors I and II, basses I and II;
• choir of boys and youth- consists of the same four main parts as mixed, but the soprano part is performed by boys called treble, the alto part is performed by low boy voices; the parts of tenors and basses in such a choir, as well as in a mixed one, are performed by men;
• male choir- consists of tenors and basses, with the division of each part into two voices: the first (high) and second (low) tenors and the first and second basses. The part of the first tenors can be expanded at the expense of countertenor singers who sing (in falsetto) an even higher part, which is outside the usual male vocal range in tessiture;
• female choir- consists of sopranos and altos, with the division of each part into two voices: the first and second sopranos and the first and second altos;
• children's choir- consists of two parts: soprano (treble) and altos, sometimes of three - soprano (treble) I and II, and altos; other options are also possible.

The minimum number of singers in one choir part is 3.

From the point of view of the manner of singing, there are:

• academic choirs- singing in an academic manner. The academic manner of singing is based on the principles and criteria of musical creativity and performance, developed by the professional musical culture and traditions of the centuries-old experience of the opera and chamber genres;
• folk choirs- singing in a folk manner. The genre features of Russian folk choirs are: reliance on local or regional traditions of everyday folk singing; use of natural register sounding of voices; sub-voice-polyphonic chant of the song as the basis of choral polyphony.

Choral singing

By the number of participants, they are distinguished:

• vocal and choral ensemble- from 12 to 20 participants;
• chamber choirs- from 20 to 30-50 participants;
• middle choirs- from 40 to 60-70 participants;
• big choirs- from 70 to 120 participants;
• combined choirs- up to 1000 participants, gather for a while from different teams. Such compositions have the status of “happening-performance” and do not belong to the performing arts per se, as they are rather a propaganda and educational direction.

Choirs can have different statuses, for example, professional, amateur (amateur), church and educational choirs.

see also

Write a review on the article "Choir"

Notes (edit)

Literature

• Anisimov A.I. Conductor-choirmaster. Creative-methodical notes. - L .: "Music", 1976. - 160 p.
• Vinogradov K. Work on diction in the choir. - M .: Muzyka, 1967.
• Dmitrevskaya K. Russian Soviet choral music. Issue 1.- M .: Soviet composer, 1974.
• Dmitrevsky G. Choir studies and choir management - Muzgiz, 1957.
• Evgrafov, Yu. A. An elementary theory of manual choir management. - M .: Music, 1995
• Egorov, A.A. Theory and practice of working with the choir / A. A. Egorov. - L.; Moscow: Gosmuzizdat, 1951.
• Zhivov V.L. Choral Performance: Theory. Methodology. Practice. - M .: Vlados, 2003.
• Ilyin V. Essays on the history of Russian choral culture.- Moscow: Soviet composer, 1985.
• S. A. Kazachkov Choir conductor - artist and teacher / Kazan. state Conservatory, Kazan, 1998, 308 p.
• S. A. Kazachkov From lesson to concert.- Kazan: Publishing house of Kazan University, 1990.- 343 p.
• Krasnoshchekov V. Choral Studies. - M .: Music, 1969.
• Lokshin D. Wonderful Russian choirs and their conductors. - M .: Muzgiz, 1963.
• Nikolskaya-Beregovskaya K.F. Russian vocal and choral school: From antiquity to the XXI century - M .: Vlados, 2003. ISBN 5-691-01077-8
• In memory of A.V. Sveshnikov. Collection of articles, ed. S. Kalinin. - M .: Music, 1998.
• In memory of N.M.Danilin. Letters, memoirs, documents) - Moscow: Soviet composer, 1987.
• Pigrov K. Choir leadership. - M .: Muzyka, 1964. - 220 p.
• Bird K. Masters of choral art at the Moscow Conservatory, Moscow: Muzyka, 1970.
• Romanovsky N.V. Choral Dictionary. - L .: Music, 1980
• Samarin V. Choir studies. - M .: Music, 2011.
• Sokolov V. Working with the chorus. - M .: Muzyka, 1967.
• Teneta-Barteneva L. B. Lebedev Konstantin Mikhailovich. (Essay on life and creative way an outstanding choir conductor and teacher). - M .: 4 branch of the Military Publishing House, 2002
• Shamina L.V. Work with an amateur choral group.- M .: Muzyka, 1981.- 174 p.]
• Riemann, Hugo.: CD-ROM / per. with him. B.P. Yurgenson, ext. Russian separation. - M. : DirectMedia Publishing, 2008.

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Excerpt from the Chorus

Only the recognition of this feeling in him made the people in such strange ways from an old man in disgrace to choose him against the will of the king as a representative people's war... And only this feeling put him on that highest human height from which he, the commander-in-chief, directed all his forces not to kill and exterminate people, but to save and pity them.
This simple, modest and therefore truly majestic figure could not lie down in that deceitful form of a European hero, ostensibly controlling people, which history had invented.
For a lackey, there cannot be a great person, because a lackey has his own concept of greatness.

November 5 was the first day of the so-called Krasnensky battle. Before the evening, when, after many arguments and mistakes of the generals, who went to the wrong place; after the dispatch of the adjutants with counter-orders, when it had already become clear that the enemy was fleeing everywhere and there could not be a battle and there would not be, Kutuzov left Krasnoye and went to Dobroe, where the main apartment had been transferred to the present day.
The day was clear and frosty. Kutuzov, with a huge retinue of generals who were unhappy with him, whispering behind him, rode on his fat white horse to Dobry. All along the road crowded, warming up by the fires, parties of French prisoners taken this day (seven thousand of them were taken that day). Not far from Dobroe, a huge crowd of ragged, tied and wrapped prisoners buzzed with talk, standing on the road next to a long row of unharnessed French guns. As the commander-in-chief approached, the conversation fell silent, and all eyes stared at Kutuzov, who, in his white hat with a red band and a cotton overcoat sitting humped on his stooped shoulders, was slowly moving along the road. One of the generals reported to Kutuzov where the guns and prisoners were taken.
Kutuzov seemed to be preoccupied with something and did not hear the words of the general. He squinted his eyes in displeasure and gazed attentively and intently at those figures of the prisoners, which presented a particularly pitiful look. Most of the faces of the French soldiers were disfigured by frostbitten noses and cheeks, and almost all had red, swollen and festering eyes.
A handful of Frenchmen stood close to the road, and two soldiers - one of them had sores on his face - tore a piece of raw meat with their hands. There was something terrible and animal in the cursory glance they cast at the passers-by, and in that malicious expression with which the soldier with sores, glancing at Kutuzov, immediately turned away and continued his work.
Kutuzov looked at these two soldiers for a long time; Grimacing still more, he narrowed his eyes and shook his head thoughtfully. Elsewhere, he noticed a Russian soldier, laughing and patting the Frenchman on the shoulder, saying something affectionately to him. Kutuzov again shook his head with the same expression.
- What are you saying? What? - he asked the general, who continued to report and drew the attention of the commander-in-chief to the taken French banners standing in front of the front of the Preobrazhensky regiment.
- Oh, the banners! - said Kutuzov, apparently with difficulty looking up from the subject that occupied his thoughts. He looked around absentmindedly. Thousands of eyes from all sides, waiting for his word, looked at him.
In front of the Preobrazhensky regiment, he stopped, sighed heavily and closed his eyes. Someone from the retinue waved for the soldiers holding the banners to come up and put them with the flagpoles around the commander-in-chief. Kutuzov was silent for several seconds and, apparently reluctantly, obeying the necessity of his position, raised his head and began to speak. Crowds of officers surrounded him. He looked carefully around the circle of officers, recognizing some of them.
- Thank you all! - he said, turning to the soldiers and again to the officers. In the silence that reigned around him, his slowly articulated words were clearly audible. - Thank you all for your hard and faithful service. The victory is complete and Russia will not forget you. Glory to you forever! - He paused, looking around.
"Bend down, bend his head then," he said to the soldier who was holding the French eagle and accidentally lowered it before the banner of the Transfiguration. - Lower, lower, so that's it. Hooray! guys, - turn to the soldiers with a quick movement of your chin, he said.
- Hurray ra ra! Roared a thousand voices. While the soldiers were shouting, Kutuzov, bent over on the saddle, bowed his head, and his eye shone with a meek, as if mocking, brilliance.
“That's what, brothers,” he said when the voices fell silent ...
And suddenly his voice and expression on his face changed: the commander-in-chief stopped speaking, and a simple, old man spoke up, obviously wanting to tell his comrades the very thing.
There was a movement in the crowd of officers and in the ranks of the soldiers in order to hear more clearly what he was going to say now.
- And that's what, brothers. I know it's difficult for you, but what can you do! Be patient; not long left. We will see the guests out, then we will have a rest. The king will not forget you for your service. It is difficult for you, but still you are at home; and they - see where they got to, - he said, pointing to the captives. - Worse than the last beggars. While they were strong, we did not feel sorry for ourselves, but now you can feel sorry for them. They are people too. So guys?
He looked around him, and in the stubborn, respectfully perplexed, eyes fixed on him, he read sympathy for his words: his face became brighter and brighter from an old man's gentle smile, wrinkled like stars in the corners of his lips and eyes. He paused and bowed his head as if in bewilderment.
- And then say, who invited them to us? Serves them right, m ​​... and ... in g .... He said suddenly, lifting his head. And, swinging his whip, he at a gallop, for the first time in the entire campaign, rode away from the joyfully laughing and roaring hurray, which upset the ranks of the soldiers.
The words spoken by Kutuzov were hardly understood by the troops. No one would have been able to convey the content of the first solemn and at the end of the innocent old man's speech of the field marshal; but the heartfelt meaning of this speech was not only understood, but the very same feeling of majestic triumph combined with pity for the enemies and the consciousness of one's righteousness, expressed by this, this very old man's good-natured curse - this very (the feeling lay in the soul of every soldier When, after that, one of the generals asked him if the commander-in-chief would order the wheelchair to come, Kutuzov, answering, suddenly sobbed, apparently being in great excitement.

8 th November the last day of the Krasnensky battles; it was already getting dark when the troops arrived at the place of their overnight stay. The whole day was quiet, frosty, with falling light, rare snow; by the evening it began to be clarified. The black-purple starry sky was visible through the snowflakes, and the frost began to intensify.
The muskater regiment, which left Tarutin among three thousand, now, among nine hundred people, came one of the first to the appointed place of overnight stay, in the village on the big road... The quarters who met the regiment announced that all the huts were occupied by sick and dead Frenchmen, cavalrymen and headquarters. There was only one hut for the regimental commander.
The regimental commander drove up to his hut. The regiment passed the village and at the outer huts on the road put their guns in the box.
Like a huge, multi-member animal, the regiment set to work setting up its lair and food. One part of the soldiers scattered, knee-deep in snow, into a birch forest that was to the right of the village, and at once the clatter of axes, cleavers, the crackle of breaking branches and cheerful voices were heard in the forest; the other part was busy near the center of the regimental carts and horses, put in a pile, taking out cauldrons, rusks and feeding the horses; the third part scattered in the village, arranging premises for the headquarters, picking out the dead bodies of the French that lay in the huts, and pulling boards, dry firewood and straw from roofs for fires and wattle fences for protection.
About fifteen soldiers behind the huts, from the edge of the village, with a cheerful cry, were swinging the high fence of the barn, from which the roof had already been removed.
- Well, well, at once, light it up! - shouted voices, and in the darkness of the night a huge fence covered with snow swayed with a frosty crack. More and more often the lower stakes cracked, and, finally, the fence collapsed along with the soldiers who were pressing on it. There was a loud, rudely joyful cry and laughter.
- Take it two by two! give the rochag here! like that. Where are you climbing?
- Well, at once ... Yes, stop, guys! .. With a shout!
Everyone fell silent, and a soft, velvety pleasant voice began to sing a song. At the end of the third stanza, at the end of the last sound, twenty voices cried out in unison: “Oooo! Goes! At once! They're coming together, kids! .. ”But, despite the concerted efforts, the fence did not move much, and in the established silence a heavy panting was heard.
- Hey you, the sixth company! Devils, devils! Help ... we'll come in handy too.
The sixth company, about twenty people, who were marching into the village, joined the dragging; and a fence, five fathoms in length and fathoms in width, bending over, pressing and cutting the shoulders of the puffing soldiers, moved forward along the street of the village.
- Go, or what ... Fall, eka ... What have you become? Now and then ... Cheerful, ugly curses did not stop.
- What's wrong? - suddenly heard the commanding voice of a soldier, who ran up to the carriers.
- Gentlemen are here; the anaral himself is in the hut, and you, devils, devils, swearing ones. I'll! - shouted the sergeant major and with a flourish hit in the back of the first soldier who turned up. - Isn't it quiet?
The soldiers fell silent. The soldier, who had been hit by the sergeant major, began, grunting, to wipe his face, which he tore into blood when he bumped into the fence.
- See, devil, he fights like! He's got his whole face straight, ”he said in a timid whisper as the sergeant-major walked away.

Mixed choir is formed as a result of the combination of a children's or female choir with a male; in a mixed choir - two groups of voices: the upper one - female or children's voices, the lower one - male voices.
A typical composition of a four-part mixed choir has soprano, alto, tenor and bass parts. An example of such a composition is the chorus from Act I of the opera "Ruslan and Lyudmila" by Glinka - "To the Bright Prince and Health and Glory":

A. Incomplete mixed choir
A mixed choir may not include all of the named parties, but only some of them. For example, a choir might have altos, tenors, and basses; or soprano, alto and tenor; any combination of one of the choral parts of the upper group can be combined with one of the parts of the lower group (soprano + tenor, alto + bass, alto + tenor, etc.). Such compositions form an incomplete mixed choir.

B. Doubling Voices in Mixed Choir
Depending on the texture of a piece of music, a mixed choir can sing in unison (rare cases) or in an octave, the so-called octave unison (common case); can also sing in two voices, in the latter case the soprano part is usually dubbed an octave by the tenor part, and the alto part by the bass part. All single-part and two-part choral works can thus be performed by a mixed choir with octave doublings.
When a mixed choir is performing a piece of music laid out in three voices, the most common duplication technique is octave doublings between the first sopranos and first tenors, between the second sopranos and second tenors, between altos and basses.
An example of the duplication of voices in unison and octave can be found below excerpts from the opera "Prince Igor" by I. Borodin:

B. Possibilities of a mixed choir in connection with split voices

It was said above that the mixed choir is basically four-part. However, the capabilities of a mixed choir far exceed this typical presentation. If in choral scores designed for a homogeneous composition, the division reaches four, five, six and even seven voices, then it is not difficult to imagine the possibility of dividing the parties of a mixed choir, which has two homogeneous choirs in its composition.
Let us consider some combinations resulting from the division of voices of a mixed choir, adopting the following conventions for this: voices are designated by letters (C - soprano, A - alto, T - tenor, B - bass); the numbers near the letter indicate the part being played - the first or second, etc. For example, C 1 stands for the first sopranos, C 2 stands for the second sopranos, etc.

1. (C 1 + C 2) + A + T + B
2.C + (A 1 + A2) + T + B
3.C + A + (T 1 + T 2) + B
4.C + A + T + (B 1 + B 2)

1. (C 1 + C 2) + (A 1 + A 2) + T + B
2. (C 1 + C 2) + A + (T 1 + T 2) + B
3. (C 1 + C 2) + A + T + (B 1 + B 2)
4.C + (A 1 + A 2) + (T 1 + T 2) + B
5.C + (A 1 + A 2) + T + (B 1 + B 2)
6.C + A + (T 1 + T 2) + (B 1 + B 2)

1. (C 1 + C2) + (A 1 + A 2) + (T 1 + T 2) + B
2.C + (A 1 + A2) + (T 1 + T 2) + (B 1 + B 2)
3. (C 1 + C2) + A + (T 1 + T 2) + (B 1 + B 2)
4. (C 1 + C2) + (A 1 + A 2) + T + (B 1 + B 2)

(C 1 + C 2) + (A 1 + A 2) + (T 1 + T 2) + (B 1 + B 2)

Other combinations are also possible. There are frequent cases when musical composition requires performance for two or even three choirs.
Thus, according to the number of voices for which the performed work is calculated, the mixed choir can be one-part, two-part, three-, four-, five-, six-, seven-, eight-part, etc.

There are many polyphonic choirs in Russian musical literature. We recommend that the student analyze the choirs of Taneyev op. 27.