"A shame!" - the audience shouted at the premiere of “Iolanta” directed by Andriy Zholdak. Setting and automation of sounds “t d” From soft “L”

Tchaikovsky Dreams at the Mikhailovsky Theater

A real scandal at the Mikhailovsky Opera House in St. Petersburg - what a premiere! The production of Tchaikovsky’s “Iolanta,” which was carried out by director Andriy Zholdak together with conductor Peter Ferants and multimedia author Gleb Filshtinsky, caused a real storm: through applause and cries of “bravo!” isolated cries like “shame!” were heard. and “a mockery of Russian art!” The performance was completely sold out and there was great excitement: tickets were sold out long before the premiere, journalists were denied accreditation due to lack of seats, relatives were shoved into the gallery... Who would have thought that classical music at the height of the 21st century could arouse such operatic passions!

Andriy Zholdak has a reputation as a provocateur and even a hooligan. Which is quite surprising, because his direction is not at all more radical than the artistic searches and machinations of his colleagues - world and Russian. But something about Andria himself excites people. Knowing him personally, I will try to guess: he is sincere and honest. He actually feels, sees and hears exactly as he puts it. And therefore it seems not entirely adequate - like everyone who is confident in his artistic correctness and genius, and therefore is not too puzzled by diplomacy and political correctness. While Zholdak was working on the play, trying, inventing, fantasizing, gushing, rejecting what was invented, he seemed to have quarreled with the entire theater. Some artists simply refused to work. Someone got sick right before the premiere. In this atmosphere of hysteria, a performance was born, imperfect, but incredibly strong, filled with contradictions and provocations, but in its main idea - whole and correct, annoying and annoying, but at the same time giving rise to a feeling of belonging to something high and spiritual. In short, a “bad” good performance.

Zholdak's handwriting is easily recognizable from the first minutes. Of course, everything begins in silence. Of course, on stage, stewards in snow-white headdresses and gloves are serving something. Of course, the living Pyotr Ilyich Tchaikovsky himself sits at the table, and the score is born from his pen. By the way, this is not the first time Tchaikovsky has been present on stage as an online creator of his music. In the recent Amsterdam production of The Queen of Spades by Stefan Herheim, the composer was very actively involved in the action, which only proves that it is not easy to come up with something new in opera directing.

It's only when we see the first notes of the intro on the giant projection screen that the orchestra enters. Video projection and light in this performance are the most important components of the spatial solution. Gleb Filshtinsky created a true masterpiece by combining real scenery (the performance designer was Zholdak himself along with his son Daniel) with the play of video and light. Filshtinsky’s work has nothing in common with pathetic designer “backgrounds” and animated “comments”, which have already set teeth on edge and turned into a provincial cliche. Here, thanks to multimedia, real magic happens: the configuration of space changes, virtual three-dimensional worlds are built, which interface with the material world of hard scenery. The huge framed wall becomes transparent - and through it we see flashback pictures of Iolanta’s childhood. Sometimes ghosts appear from this gigantic picture, and the quality of the video is such that it is not immediately clear whether it is a living artist in front of us or an image. The artists come into real contact with the images: they take them by the hand, materialize, fade away... Sometimes the picture becomes a blank wall, sometimes it turns into a mirror, behind which lies the mystical world of looking-glass doubles.

Photo courtesy of the theater press service.

All this is not a show designed to surprise with special effects. The creators of the play reproduce on stage “multiple states of being,” as Rene Guenon put it. Everything exists always and everywhere. Today, the past, the subtle world of ghosts, the divine world of angels, the world of artistic creativity in which the composer becomes the main character, the world of dreams in which the heroine guesses the existence of something other than darkness, the world of theater in which we are watching here and now performance - all these realities do not seem to be an eclectic flight of the authors’ wild imagination. They are synthesized into a single whole, and how this is achieved - God knows.

The performance is permeated with a state of spiritual and even religious search. With all the everyday details that Zholdak knows how to use so well - including the cinematic authenticity of the interiors and his adored quotes from film classics (in this case, Tarantino) - there is nothing mundane or mundane in this story of Iolanta. The daughter of King Rene in the Mikhailovsky Theater version is certainly not a girl with disabilities who underwent a successful operation. The authors interpret the acquisition of light and the gift of vision in strict accordance with the concept of Pyotr Ilyich, who by the time he created his last opera was not only passionate about the search for spiritual truth, but also quite definitely found it in Christianity.

The finale of the performance is open. After the ecstatic final chorus, the director plunges the action back into silence. They are preparing for the wedding of Iolanta and Vaudemont. But will it happen? Will the heroine continue her path to the light through renunciation of everything worldly?

Now about the “bad”. Of course, Andriy Zholdak is a man of the dramatic theater. For all his musicality and ability to build action, intuitively obeying internal rhythm and dramatic laws not related to the verbal text, he treats the musical text in exactly the same way. What is dangerous: to fragment an opera, especially not a numbered one, but one like Tchaikovsky’s - with end-to-end development, to break up the musical dramaturgy with pauses and stops - this means entering into a dramatic war with the composer, in which Tchaikovsky will definitely win. Nevertheless, the inclusion of the adagio from The Nutcracker into the fabric of the score turned out to be interesting. It is known that “The Nutcracker” is traditionally related to “Iolanta”: the one-act opera is usually combined with a suite from the ballet. Zholdak divided his performance into two acts (the second begins with the appearance of the knights) and gave the adagio the role of a semantic and emotional climax.

Photo courtesy of the theater press service.

Among the annoying shortcomings of the performance is the director's characteristic overload of details, unnecessary characters, details, and movements. Perhaps this is appropriate in drama, but in opera there is no such need: music still dominates. And therefore Iolanta should not have brushed off invisible flies in the episode before the operation, the pianist starting to play the adagio should not have clumsily pretended to play the piano when the music had already been picked up by the orchestra, and certainly the two mysterious old men should not have polished the floors and brushed dust from the windows ram. If a director like Zholdak fell for the cliche code-named “opera cleaning,” then this phenomenon definitely deserves serious research. Perhaps even with the involvement of psychotherapists: why are all the directors so obsessed with the desire to sweep and wipe the dust?!

The musical side of the performance was disappointing. The Mikhailovsky Theater has always demonstrated the high level of the opera troupe's condition. “Iolanta” raised a lot of questions. Maria Litka found it frankly difficult to cope with the title role. Not very accurate intonation, equally inaccurate articulation, obvious difficulties on the upper notes, especially when drunk. The singing of Alexander Bezrukov (Rene) turned out to be even more problematic. The vocals began in the second act, when Sergey Kuzmin (Vaudemont) and Alexey Zelenkov (Robert) came on stage - two “Siberian guests” discharged from NOVAT, fortunately he is a close relative of Mikhailovsky through the general director Vladimir Kekhman. Kuzmin has practically become Mikhailovsky’s soloist, which is very joyful. Zholdak came up with a witty solution for their arias: both artists sing their hits exactly as concert numbers - standing on the proscenium, receiving applause and willingly bowing to the audience (the backdrop at this moment turns into a mirror image of the Mikhailovsky Theater hall). But even their strong voices are drowned out by conductor Peter Feranets in an endless fortissimo. Alas, the maestro was unable to convey the expression of Tchaikovsky’s music in organic unity with the voices. After all, forte is not an emotion. Or it's no longer an emotion.

Despite all the ambiguity of what was seen and heard, it is impossible to get rid of the feeling that the performance took place. And the cries of “shame!” in this case they hardly have any meaning other than increasing the degree of perception. And if the performance “succeeds” musically - which is quite possible, as long as such a task is set - then “Iolanta” at Mikhailovsky will not be a “mockery of Russian culture”, but its brightest event.

Saint Petersburg.

Setting the sounds P, T, M, V

It has been noticed that the sounds P, T, M, V appear first in children’s speech.

Light in articulation and distant from each other acoustically.

In deaf children, these sounds are evoked using phonetic rhythmic movements. But the evoked sounds are not always pronounced by the child accurately and correctly, because the child is deaf. Next we move on to the stage of sound production.

When producing a sound, all analyzers must work simultaneously (visual - the child sees the position of the organs of the articulatory apparatus), auditory (hears the sound), motor (feels the movement of the lips, tongue), tactile (feels the air stream and vibration of the vocal cords)

Sound P

The sound P is a consonant, oral, plosive, labial-labial at the place of formation, deaf, hard.

At the first moment, the lips close, the air in the pharynx and mouth is compressed. Then the labial stop explodes and the air is pushed out.

When working on the sound P, you should give the child the opportunity to see the position of the lips. Children can feel the push of air, the absence of a voice when pronouncing the sound P with the help of residual hearing or by touching the larynx with their hand.

The stage of sound production is preceded by the stage of articulatory gymnastics. The formation of movements of the organs of the articulatory apparatus is carried out through articulatory gymnastics, which includes exercises for training the mobility and switchability of organs, practicing certain positions of the lips and tongue, necessary both for the correct pronunciation of all sounds, and for each sound of a particular group. Exercises should be targeted: it is not their quantity that is important, but the correct selection and quality of execution.

Each exercise is given names according to the action performed.

The lips take part in the formation of the sound P, the tongue is passive and its position depends on the next sound. This means we will perform articulation exercises for the lips. Exercise “frog”, “trunk”. The picture serves as a model for imitation of an object or its movements when performing articulatory gymnastics exercises. When pronouncing the sound p, a directed air stream is required, so we perform breathing exercises (for example, blowing cotton wool from the palm of your hand).

We put the sound P by imitation. The child sees the position of the lips, feels the jerky air stream and the absence of vibration of the larynx.

To automate the evoked sound, we use a symbol picture (locomotive). When the child learns to pronounce a sound well in isolation, we automate it in forward and backward syllables, words, phrases.

T sound

Consonant, oral, plosive, place of formation anterior lingual, voiceless, hard.

The lips are open and take position from the next sound. The tongue at the first moment forms a bow with its front edge with the upper incisors, and the lateral edges are adjacent to the upper molars. The next moment the bow explodes. The soft palate is raised and closes the passage to the nose. When pronouncing the sound T, you can see the position of the lips (slightly open), the edges of the incisors and the work of the tongue, and feel the push of air.

Articulation gymnastics is aimed at developing the correct position of the tongue: “Delicious jam”, “brush your teeth”. For automation, we use a picture symbol (“the wheels of the cars are knocking t-t-t)

Sound M

Consonant, nasal according to the place of formation, labial-labial, according to the method of formation, stop, hard.

At the first moment of pronouncing the sound M, the lips close, but without an explosion (unlike P). The position of the tongue depends on the following: The soft palate is lowered, exhaled air passes into the nose. The vocal folds are closed and vibrate. You can see the work of the lips, feel the vibrations of the larynx, cheeks, nose.

The main disadvantages of pronunciation: a) the sound M is pronounced in a high voice (put the echo A, control the vibration of the chest); b) the sound M is pronounced as B or mb (The soft palate is lowered or rises at the last moment). It is necessary to monitor the vibration of the cheeks, starting from a drawn-out M____. To automate the isolated sound M, a picture-symbol is used (the bull moos mmmm)

Articulatory gymnastics for the development of mobility of the soft palate (The game “the wind tears off the leaves” - cough with an open mouth on a leaf suspended on strings)

Sound B

Consonant, voiced, fricative according to the method of formation, labial-dental according to the place of formation.

The upper lip is slightly raised, the upper incisors are visible. The lower lip touches the upper lips, leaving a flat gap in the middle. The tongue is in a position depending on the next sound. The soft palate is raised and closes the passage. The vocal folds are closed and vibrate. The position of the lips is clearly visible. You can feel the vibration of the larynx. And raising his hand to his mouth, a stream of exhaled air directed obliquely upward.

Articulation gymnastics (biting the upper and lower lips)

Pronunciation disadvantages:

A) sound B sounds nasal: Vava is like a mother (the reason is the soft palate is lowered, air passes into the nose). It is worth starting from the sound F, paying attention to the strong air stream, then switching to B;

B) c sounds like B or P, the reason is that the gap between the lip and incisors is replaced by a bow;

B) Sounds like F;

It is necessary to achieve the correct reproduction of sound B based on its drawn-out pronunciation and relying on double control (exhaled air and the presence of voice.

To automate the isolated sound B, a picture-symbol “The plane is buzzing” is used. B-B-B

Greetings, dear readers and subscribers of my blog!
Guess what the connection is between the steamboat, the sail and the turkey? Does the steamboat have a sail and is carrying a turkey? Not quite so, although it was probably on such ships that these domestic birds were brought to us from the New World. The solution will help to reveal all the ways and techniques for setting the sound of L.

I'm in a hurry in this article. And after reading the article to the end, you will find the answer to this and other questions, but first things first. At the beginning of his work on sound, the speech therapist finds out how it is disrupted and what problems the child has with its pronunciation.

Does he have dysarthria? Are the adenoids enlarged? Is everything good with his ENT organs, breathing, voice? The L sound is solid and sonorous. After diagnosis and during preparatory classes, you can already decide on methods and methods of correction. And what tools and auxiliary materials may be useful at this stage.

We build tactics and strategy depending on the characteristics of the children’s articulatory apparatus. What are the ways? We will look at the following:

• by imitation
• production from the soft sound L
• using a “talker” (“turkey”)
• from the sail
• with mechanical support (use of a spatula, teaspoon, figure-of-eight probe, cotton swab)
• from “steamer”

By imitation

A fairy tale about a small steamboat.

Once upon a time there lived a little steamboat, Mickey, who didn’t want to blow his whistle.
His mother told him how bad it was, well-mannered boats always honk if they meet other boats on their way.
Dad said: “You are so small, they might not notice you in the fog.”
One day the following story happened: Mickey got lost. He started playing with funny colorful fish that jumped out of the water. I didn’t notice how the fog rose. He wanted to buzz, but he couldn’t. Let's show him how to buzz.

Show how to lift the wide tongue (I) over the upper teeth (H).
If it doesn’t work out, sit in front of the mirror with your baby and show him.
Show on your hands - fold your palm into a cup, as if you want to scoop up water (this is Me) and rest it on the other palm, standing on its edge (teeth).

The steamboat is humming

The steamboat failed to make a sound. There is no wind, complete calm, the sail does not inflate. It doesn’t matter, I’ll try to row with oars. The paddles are wide (“shovel” - a wide tongue lies on the lower relaxed lip). The oars splash through the water (five-five-five and cha-cha-cha)

The simplest and most reliable method, if there are no complications such as dysarthria and adenoiditis. We squeeze the wide I between Z and try to pronounce the sounds Y or L. Sometimes it works right away. But sometimes you have to make preparations:

• spatula (pancake) - holding the wide I on the free lower lip - “pancake on a plate”, smoothly slide it into the mouth, stopping it between the teeth
• “knead the dough” - we slap the I with our lips “five-five-five” and teeth “cha-cha-cha”, then “cha-cha-cha” or “ta-ta-ta” (whatever happens) we translate into lalala or Lala, accordingly, tapping, we press the tongue with our teeth and pull “LLLLLL” and “LLLLL”

Sail

After the interdental L is fixed and the pronunciation becomes stable, you need to lift the I by the Z and move on to the “sail” method.
When pronouncing L interdentally, the tongue should immediately be raised upward.

The breeze blew and the sail began to rise.

The method is also simple, but it is only suitable if the tongue is wide and held in the upper position. I lift up behind Z and buzz L or L. It is completely unsuitable if L is replaced with G or NG. To make the “sail” less convex, you can slightly push it with a cotton swab or probe. It is best to combine a sail and a steamer. Sound a horn, then say: “Now do the same, but with a sail,” help with a stick and make sure that the mouth does not close; you can hold the “sleigh” probe between the side teeth.

With mechanical support

But suddenly the mast breaks, the sail doesn’t rise, let’s help.

If the sail doesn’t work out in any way, but there is no replacement for the back tongue G, and it turns out to be a steamboat, then we ask the baby to lift the G by the upper W and hum like a steamboat. You can use a probe, a cotton swab or bread stick, the handle of a teaspoon or a toothbrush, everything must be clean and sterilized. This method is good for dysarthria, when the ego is poorly controlled due to impaired innervation, is poorly held or goes to the side.

Chatterbox, turkey babbles

This method works well when replacing “L” with “G” (NGN). And also for small children under the age of 5 years, since the sound L is difficult to produce and requires some volitional efforts and conscious, voluntary actions.

We quickly move the I forward and back with the tip along the upper lip, the lips are in a smile, the mouth is open, the sound is “blblbl”, we gradually slow down the movement, pronouncing “l-l-l” or “l-l-l”, then we hold the I longer behind the upper lips 3 in the “sail” position, the tongue strokes the upper front teeth from the inside, pronouncing “LLLL” or “LLLL”, then falls on the lip in the “pancake” position, pronouncing “A” or “E”. I should fall on the lip, and not go deep into the mouth.

Mickey swims by, and a turkey stands on the shore. Greets him and babbles. The turkey ran towards him. The steamboat looked at the turkey and began to row with an oar.

From soft “L”

A turkey and a turkey hen are standing next to each other. Dad says “LLLL”, and son “LLLL”.
“I want it like you, dad.” The father replies: “Okay, I’ll teach you, but let’s invite the boat to visit, it probably sailed for a long time.”
The weather is bad, he is cold. Let’s give him some tea”
Poured tea into a cup.
They treated him to sweet straws.
The little turkey told how he kneaded the dough for the tubes - “five-five-five” and “cha-ta-cha” and rolled it up.
And Mickey showed how he raises his sail.
And the little turkey rode up and down on the waves. (swing)

Very often, children already have the sound Л or put it first. There is a replacement of L in speech with L. This happens because in soft sounds there is palatalization, the closure of the palate is not with the tip of the I, but with the back, the I has an incorrect tone, and its tip is not pronounced. Therefore, it is necessary to massage the tongue so that it is wider, and the following exercises are also shown:

• sail
• knead the dough

We ask the baby to lightly bite the tip of his tongue, “scratch” it with his nail, so that he understands where to rest against the palate (and behind the teeth). We make a “swing” so that you can feel the difference between the convex and concave position of the tongue in the mouth.

The turkey chick helped set the sail and tapped his beak “DDDD”
“Dad, I can’t do it like you. I want to show Mickey how to buzz.”
The father helped the turkey and supported him with his wing

1. Place your finger in the chin fossa. The baby pronounces “LLLL”, you need to feel the hole from below, press lightly, if there is no deviation away from the midline and problems with the bite, then a hard phoneme will reflexively be obtained.
2. Press your chin from below with your palm. When pronouncing “L”, rest your chin on the back of your hand. When the pronunciation of L becomes stable, the patient can hold his own hand.

From sound A

Suitable for children over 6 years old and adults.
Open your mouth wide and pull “AAA”, then quickly raise your tongue and rest on your upper teeth. You can help with a spatula, probe or finger. It is very important that the air stream goes to the tip of the tongue, so you need to work out this moment, otherwise you will get the nasal sound “NG”.

Let's help Mickey hum so that mom and dad can hear him. Let's raise the sail together on command, I'll say AAAA, then quickly raise it up. Need support.

From the “fence”

Sometimes it is enough to practice the position of the lips in a smile, without closing when “steamboat” or “sail”. If your lips close and you hear “B,” then you need to push your lips apart with your fingers or constantly remind them of “.” It is good if the client always looks at the position of his speech organs in the mirror, since visual control helps to understand in what position the sound is easier and clearer to pronounce.

And you definitely need to smile. A good mood is the key to success. And finally Mickey managed to buzz. His parents heard and buzzed in response. The little boat was delighted, waved the turkeys goodbye with an oar, thanked them for their help and sailed home joyful and satisfied.

After the sound L is established, we need to move on to automating it in syllables, words and sentences. Read the following articles about this and stay tuned to the blog. I wish you all the best, see you soon!

Udovychenko Natalia
Articulation gymnastics

Tongue exercises:

speech therapy exercises.

Speech therapy exercises for sound[m]

Articulation gymnastics:

For the jaw:

Close your teeth, open, close;

For lips:

Close your lips "let's sit in silence";

-"smile tube".

For language:

Holding the tongue against the lower teeth on a count from 1 to 5;

Bite with your teeth.

Speech therapy exercises for sound[b].

Articulation gymnastics:

For the jaw: imitation of chewing;

For lips:

Smack your lips;

-"don't care" on the tongue;

Play the harmonica.

For language:

We will press our tongue with our lips: five-five-five.

And then we’ll press it with our teeth: cha-cha-cha.

Speech therapy exercises for sound[f].

Articulation gymnastics:

For lips:

Who can make a better pipe?

Make your lips look like a donut (show your upper teeth, lift your upper lip);

Bite your lower lip with your upper teeth.

For language:

Tongue wide (keep counting from 1 to 5,

The tongue is narrow,

Alternating wide and narrow language.

Speech therapy exercises for sound[c].

Articulation gymnastics:

For lips:

Lips in "tube": relax

Mouth corners to the sides and relax;

Smack your lips

Bite your lower lip with your teeth.

For language:

Place your tongue wide on the lower lip and hold it for a count of 1 to 5;

-"brush your teeth";

- "painter".

Speech therapy exercises for sound[n].

Articulation gymnastics:

For lips:

-"smile",

-"tube"- 2-3 times;

For language:

-"brush your teeth";

-"watch";

-"horses".

Speech therapy exercises for sound[t].

Articulation gymnastics:

For language:

-"delicious jam";

We will press our tongue with our lips:

And then we’ll press it with our teeth: cha-cha-cha.

Speech therapy exercises for sound[d].

Articulation gymnastics:

For lips:

-"smile",

-"tube",

-"mouthpiece"- 2-3 times;

For language:

-"brush your teeth";

-"prick the upper teeth";

-"fungus".

Sound setting [T]

By imitation:

Repeated isolated pronunciation of a sound based on symbols “How do the wheels of a train knock? - t-t-t” (Fomicheva)

Mechanically:

a) Ask the child to pronounce PA-PA-PA-PA-PA, placing the tip of his tongue between his lips. Then, at the moment of pronouncing pa-pa-pa-pa, the lips are moved back (either the child smiles, exposing the upper and lower teeth in front of the mirror, or the adult helps to move the lips away with the thumb and forefinger. At the moment of moving the lips apart, we will hear ta-ta-ta-ta.

b) press the front part of the back of the tongue to the upper lip, use a spatula to carefully push the tongue towards the upper gum and invite the child in this position to blow sharply onto a strip of paper.

Sound setting [d]:

By imitation:

The speech therapist shows and explains to the child articulation pattern. Then asks: “How does a woodpecker chisel a trunk?” Child answers: "d-d-d-d-d"

Draw the child's attention to the fact that articulation sounds [t] and [d] are distinguished by the vibration of the vocal folds .

Mechanically:

Ask your child to say ba-ba-ba-ba by placing the tip of his tongue between his lips. Next, the lips are moved back. At the moment of biting, you hear yes-yes-yes.

Sound setting [n]:

by imitation:

Place one finger of the child on the speech therapist’s nose and the other on his own. In this case, you need to show the child the position of the tongue.

based on M sound: The child pronounces the sound M in a drawn-out manner with his tongue stuck wide between his closed lips. At the same time, a shade of the sound N appears. As the child gets used to this interlabial pronunciation of the sound N in syllables and words, the lips are removed with the fingers. This results in an interdental N. Gradually the tongue is moved behind the upper incisors to a normal position.

Sound setting [P]

By imitation.

1. The speech therapist shows the child and explains articulation pattern. After asks: “How does the porridge puff?” Child answers: "P-p-p."

2. The speech therapist asks the child to pronounce the syllable pa by blowing into a ball of cotton wool or a strip of colored paper.

Mechanically.

Pronounce the sound [f], with the index finger located horizontally under the lower lip, patting the lips.

Sound production [B]

1. The speech therapist draws the child’s attention to the fact that articulation sounds [p] and [b] are distinguished by the vibration of the vocal folds (to do this, place the child’s hand on the speech therapist’s larynx) and pronounce [b] with a slight swelling of the cheeks (put child's hand to cheek).

2. The child says ba-ba-ba, while his cheeks need to be slightly puffed out.

Mechanically.

With a voice, calmly and for a long time blow on passive lips, while the lips and cheeks should puff out. The result should be a sound approximately reminiscent of [v] - bilabial [v]. Then move your index finger, located horizontally under the lower lip, up and down, alternately closing and opening your lips. Then the child places his finger himself. Gradually the finger is removed.

Sound setting [M]:

By imitation. The speech therapist presses one hand of the child to his cheek, the other to the child’s cheek. The child feels the vibration on the speech therapist’s cheek and reproduces it through tactile control through his palm.

Speech therapist advice:

Prepared:

Sound setting [k]

By imitation:

a) To obtain the correct k and g, open the mouth wide, resting the tip of the tongue on the lower teeth, bend the tongue into a slide, strongly pressing the back to different points of the hard palate (closer to the incisors or further from them, and following the speech therapist, pronounce hard and soft - k, and then g.

If for some reason the back of the tongue does not rise to touch the palate, then the child is asked to breathe through his nose with his mouth wide open. In this case, the tongue rises up. Sometimes it is possible to achieve k by propping the tongue against the palate with the thumb from the outside through the bottom of the mouth.

b) the child is asked to arch his tongue "slide", press it to the sky and, without lowering it, blow off the cotton ball from the back of the hand raised to the mouth => [k]. If imitation fails, then mechanically.

mechanically:

using a finger or spatula, based on the sound [t]. The child is asked to pronounce the syllable ta. At the moment of pronunciation, the speech therapist presses his finger on the front part of the back of the tongue, resulting in the syllable cha. Then the speech therapist moves the finger a little deeper, resulting in the syllable kya. Finally, the third stage - even deeper pressure on the tongue - gives a hard sound - ka.

use visual control to focus the child’s attention on a new sound (kh)

Sound setting [g]

by imitation:

The child is asked to put his hand on the neck and, "turning on" voice, pronounce the sound /K

With mechanical assistance:

The child is asked to say "Yes Yes Yes", the speech therapist moves the tongue back with a spatula until it is heard sound combinations: "yes - yes - ha".

Sound setting [x]

By imitation.

A). The sound /X/ is easily evoked by imitation using a game reception: “Open your mouth wide and breathe on your hands, "warm them up". In this case, the speech therapist makes sure that the tip of the child’s tongue is at the bottom, and the back part rises steeply, but does not touch the palate. You can, for example, first invite the child to do "low hill", and only then "let the breeze".

b). You can offer your child a funny picture or toy to make him laugh, laugh with him, and then draw his attention to laughter: we are laughing "ha ha ha". We fix the sound /Х/ in combination with other vowels (O, E, S).

With mechanical assistance.

If it is not possible to produce a sound by imitation, it can be produced with mechanical assistance, that is, using a probe to move the tongue deeper into the tongue. We ask the child to pronounce the syllable "sa", with the correct position of the tongue it will turn out "sa-sa-ha-ha".

The tongue is in front of the teeth, the exhalation is warm, then the tongue is retracted into the tooth position.

The tip of the tongue is behind the lower teeth, without moving it towards the throat. Long, calm, soft air.

From the correct /K/.

The child is asked to pronounce the sound /K/ often and protractedly. At this time the combination is obtained "kh". It is necessary to draw the child’s attention to the fact that after the sound the sound /X/ is heard, after which we tear off /K/ from /X/. It turns out /X/.

Sound setting [th]

by imitation

By means of reflected and conjugate pronunciation of the sound [th];

From a soft dull sound to the inclusion of a voice with mandatory auditory and tactile-vibration control;

From the vowel sound [and] in combination with the vowels A, O, U, E with gradual acceleration: ia-ia-ia – ia-ia-ia – ya-ya-ya

Io-io-io – io-io-io – yo-yo-yo

Eew-eew-eew - eew-eew-eew - yu-yu-yu

Ee-ee-ee – e-ee-ee – ye-ye-ye

Mechanically.

From the sound [z] using a spatula or probe:

The child pronounces the syllable za-za-za, at this time the speech therapist presses the tip of the tongue with a probe or spatula, slightly lifting and moving the back of the mouth into the back of the mouth language: for-for-for-zya-zya-zya-ya-ya-ya

Speech therapist advice:

“Methods for producing sounds of early ontogenesis.”

Prepared:

teacher-speech therapist MBDOU No. 11 Udovychenko N.V.

“How to memorize poems with children?”

Prepared:

teacher-speech therapist MBDOU No. 11

Udovychenko N.V.

Find out all the unclear words and expressions.

Invite the child to repeat it out loud from memory after 2 minutes, while helping him without getting irritated.

Invite the child to once again imagine the events described and read the poem again.

After a few hours, invite the child to read the poem again.

(help with homework with children)

teacher-speech therapist MBDOU No. 11

Udovychenko N.V.

Doing homework is a huge help to the speech therapist. Children who study at home with their parents, in addition to the instructions of a speech therapist, introduce not only fixed sounds, but also complex speech structures into everyday speech much faster and more successfully.

Performing speech therapy

homework.

1. Articulation gymnastics must be performed daily for 5 minutes.

2. It is advisable to conduct classes in the morning.

3. Classes with the child should be regular.

4. You cannot force a child to study.

5. Having mastered one exercise, you can move on to the next.

6. Do not complete the task for your child, if he finds it difficult, then you can return to it again.

7. Change roles with your child; children love to be in a role. "teachers".

8. Don’t forget to praise your child for minor results.

9. Exercises should be performed step by step and sequentially, no more than three exercises.

10. Lesson duration 15-20 minutes.

11. If you see that your child is having difficulty preparing homework, consult a speech therapist.

Important to remember:

Only a kind attitude, love and praise will increase the child’s interest in classes.

Remember: The joint work of the speech therapist and parents will determine the overall success in your child’s correctional education.

Tips for parents:

“Let’s breathe correctly to train our speech.”

teacher-speech therapist MBDOU No. 11

Udovychenko N.V.

Disadvantages of baby breathing overcome:

Developing a deeper breath;

Developing in children the ability to breathe correctly during speech.

In early preschool age this is achieved through play, and in middle and high school age - through gymnastics. The duration of breathing exercises should be limited to 3-5 minutes (to avoid dizziness).

Breathing exercises:

blow off snowflakes, fluff, pieces of paper from the table, from the palm of your hand;

blow on light balls, pencils and roll them on the table;

drive the ball into the goal;

set ducks, boats, and paper figures floating in a basin in motion by blowing;

blow on pinwheels, cotton balls suspended on a thread;

blow off the stamens of ripe dandelions;

inflate balloons;

blow bubbles;

blow up a fluff, cotton wool, piece of paper, soap bubble.

To develop a long, smooth speech exhalation, it is recommended to invite children to speak on one exhalation, gradually increasing the number of words. Success is secured by constant monitoring of breathing and appropriate suggestion.

Teach your child to take a deep breath, and then a smooth, long exhalation - this is necessary for the formation of speech skills.

Be sure to buy your child a pipe, a whistle, soap bubbles, a pinwheel...

Important: the toy on which the child blows should be at the level of his lips and at a distance of 10 - 15 cm.

Exercises in pronouncing the sound “P”

In this exercise you need to close your lips.
Say “p-p-p” with effort.

2) Mouse song

Sing the little mouse’s song with your baby: “Pi-pi-pi!”

3) Fingers say hello

Each finger of the right hand, starting with the index, touches the thumb of the same hand in turn, pronouncing the syllables “pa”, “po”, “pu”, “py” with each contact.

4) Cats and mice

Play this game with your child. Here the child plays the role of a mouse, and you play the role of a cat. The “mouse” says “pi-pi-pi” and runs away from the “cat”. And the “cat”, in turn, tries to catch the “mouse”.

5) Nursery rhyme

Learn a nursery rhyme with your child:

6) Tongue twister

Exercises in pronouncing the sound “B”

1) Articulation gymnastics

We achieve a clear and ringing sound “b - b - b”.
To do this, we close our lips tightly, through which air suddenly escapes.

2) Articulation exercise

Articulation gymnastics “let’s play on the lips.” During the exercise, pronounces the sound “B” for a long time.

3) Onomatopoeia

Bi - bi (machine), bom - bom (drum).

4) Fingers say hello

Each finger of the right hand, starting with the index, touches the thumb of the same hand in turn, pronouncing the syllables “ba”, “bo”, “bu”, “by” with each contact.
An adult can help the baby if he himself cannot connect his fingers correctly.

5) Nursery rhyme

Learn a nursery rhyme with your child:

6) Tongue twister

Repeat the tongue twister with your child:

7) Voiceless or voiced?

It is necessary to teach the child to hear sounds correctly and distinguish between them. Pronounce the onomatopoeia “bee-bee” and “pee-pee.”
Then ask: “Where is the car, and where is the mouse?”