Perm region

Kungur municipal district

Municipal state-financed organization

additional education

"Kalinin Children's Art School"

Public lesson.

"Work with variety ensemble in vocal class"

Prepared by: Guryanova N.L.
Pop vocal teacher

Kalinino village 2017

Working with a pop ensemble in vocal class.

The purpose of the lesson: show and reveal the main points of working with a vocal ensemble.
Lesson objective: show work with vocal exercises and work out vocal parts and arrangements.

During the classes.
1. introduction 3 min.
2. Explanatory note 2 minutes.
3. Chanting 8 min.
4. Work with vocal parts 20 min.
5. Performance in concert version 7 min.
6. Final word 5 minutes.

Musical material.
1. D. Tukhmanov, An.Transverse."Stork on the Roof"

2 . “I would like to draw a dream”

Introduction.
The vocal ensemble of the art school has been in existence for three years and consists of a homogeneous two-voice composition with elements of 4 voices, students of the high school vocal department.
There are 4 people in total, 2 in each batch. The ensemble performs various works in Russian, English languages and are a regular participant in all school concerts, and also take part in municipal and intermunicipal competitions.

Explanatory note.

To identify the character of the voice and determine which part to assign to it in the ensemble, you need to start with a “chanting”, with each individual. During chanting, the leader determines the type of voice, its range, and identifies the qualitative (timbre) characteristics of the singing sound. You need to know that in pop singing, the division into types of voices is conditional. This is due to the fact that pop vocalists sing in a natural register. They do not have an artificially extended high range using head resonators. In pop singing, voices differ according to their “mass”, such as high and low, plus the individual qualities of the singing sound.

Before starting work on developing a unified singing sound for all members of the vocal ensemble, it is important to identify such nuances of the character of the voice as transparent, dense, light, heavy, sonorous, muffled, sonorous, quiet, etc.

Each cast should select appropriate chants in order to achieve the ability to sing exercises without “its own” timbre, without “its own” vibration and “its own” sound strength. Everyone listens to their neighbor, while trying to “drown”, “hide” the timbre of their voice, in the timbre of the voice singing next to them. Everyone makes sure that his voice does not stand out and is not lost in the overall sound, which should be perceived by those singing as coming from the same source, the same timbre, the same volume and with a common vibrato.

Best exercises to develop a unified singing sound formation, these are diatonic scales and arpeggios. Exercises and scales are performed at moving tempos, with an energetic, full sound. The higher the tessitura, the more support there is on the lower abdominal muscles.

The chants are sung in unison (if the composition is mixed - in octave unison), in the range freely, without tension of the sounds taken. At the same time, in the lower register, low voices sing in a subtone, the girls “turn on” the chest register of their voices and sing in pp.

Chanting.

Altos sing the exercise up to D of the first octave and return to the original one, sopranos sing up to B of the first, wait for the altos to sing their turn and join them from the same note. Three-quarter beats are counted out loud or marked with body movement.

The teacher plays the exercise with both hands in the minor and second octaves. In all exercises in the syllable uVa, vowel u pronounce like English W, performing it as a grace note to the syllable Wa.

The scale for the ensemble chants looks like this:

Sing in semitones up to D of the second octave. Altos begin with the note A of the small octave and sing up to F first. The leader plays the exercise with both hands in the minor and first octaves.

Sing all exercises from beginning to end, and only after that the leader makes comments, gives instructions for correcting errors, and again completely completes the entire course of the exercise.

You need to sing the exercises in that part of the range where the voices of the ensemble feel comfortable. Where, say, low voices are high, they drop an octave or skip high notes. You should monitor the dynamic and timbre balance of voices, and avoid highlighting any voice. The attack in all types of exercises is any, but the same for all singers in the ensemble.

Clearly articulate the scat. Use only the suggested syllables. The ensemble should chant for up to ten minutes. Be sure to use nuances, different timbre shades and dynamics.

While performing the exercises, students must beat beats with their feet. When the unison is performed confidently and clearly, the ensemble moves on to harmonic exercises.

Chord exercises.

Chord exercises to sing piano. The leader determines the type of attack, sets the piano tuning with one sound or chord, and calculates the pauses out loud. The pace is slow.

The ensemble members listen carefully to the tuning and begin the exercise with a light sound, without approaching. Listen to every sound, interval and chord. “Dissolve” their voice in the general sound.

All chord exercises are performed in crescendo.

The leader himself chooses a convenient tessitura for the exercises.

In the next exercise, pauses are noted by the leader. Execution is free, according to the teacher's hand.

Slow and very free.

Choose a scat that is comfortable, take pauses, observe the nuances. Memorize. Sing in different keys and tempos.

Learning the parts.

Before students each write out their own part to learn, it is necessary to familiarize them with the composition, sing each part, and pay attention to the details and nature of the interpretation. In the next lesson, students sing separately, each with their own part. The teacher plays the same part in octave unison, maintaining the phrasing of the intended overall sound of the song. Then the parts are sung in pairs of voices: first and third, second and fourth. And only in the third lesson does the connection of all voices take place. Immediately pay attention to the phrasing and balance of voices. In the fourth lesson, you can demand the execution of the nuances and intended dynamics of the composition.

The next two or three lessons will be to achieve the requirements of the eight points.

PERFORMANCE OF COMPOSITIONS

Execution pop music has its own characteristics:

a) deviations from the rhythmic pattern of the melody recorded in the musical notation are allowed.

b) the method of sound production and manner of intonation are of fundamental importance.

c) every performer must have a sense of swing and a keen sense of rhythm.

d) the ensemble needs a leader who can lead the group, in to the greatest extent possessing pop performance skills.

CONCLUSION

When working with a pop ensemble, you should start by working on dynamic and timbre balance and vocal articulation. This can be achieved by competently and persistently working with vocal exercises - triads, scales, arpeggios and chords, throughout the entire working range of a given ensemble. You can start working with a vocal composition only after the vocal parts of the arrangement have been learned and worked out, and you can start working on the artistic and vocal interpretation of the composition when it has been sung and polished technically. When working with a vocal ensemble, you should achieve:

Simultaneous and silent inhalation.

Same attack.

Instrumental sound emission.*

Well mixed, "overall" timbre.

Clearly simultaneous beginning and ending of exercises.

Strict execution of strokes, pauses and nuances.

Steady and clean intonation.

* The normal pulsation of the voice in singing is considered to be 6-7 vibrations per second. Add here subtle deviations in one direction or another. And if four vocalists with different vibrato frequencies sing a chord, then best case scenario its sound will be uncomfortable for the ear. To achieve clear intonation, each singer must sing with an even (instrumental) sound, without vibrato. At the same time, try to “dissolve”, “drown” the sound of your voice, in the sound of a voice singing next to you

Goals:

• introduce concepts in singing - ensemble and structure;
• achieve stable intonation of monophonic singing;
• introduce the types of two-voice singing: opposite movement of voices, movement in parallel intervals canon;
• achieve stable intonation of two-voice singing;

Tasks: educational:
teach: proper singing breathing; performing a song in unison; singing a word on a yawn; clear singing of consonants and vowels. developing: formation of correct academic performance; development of a sense of rhythm, attention, imagination; development of auditory musical memory, singing emotionality, expressiveness, vocal articulation, singing breathing. educational: cultivate a culture of behavior; develop the ability to work in a team.

Teaching methods: conversation, comparison.

Equipment:
recording of the song “The Lion and the Barber”;
cards with the words: choir - good, C-PART-E, combining parts into one;
score of the song “Children of the Sun” music. E. Krylatova lyrics Yu.Entina;
DVD player;
minus soundtrack of the song “Sleepwalkers” by music. L. Rubalskaya, lyrics. B. Savelyeva.

Progress of the lesson.

1. Organizational moment.

1. Greetings.
2. Checking readiness for class.

2. Chanting.

We start each lesson by rubbing our fingers. Why are we doing this? (at the fingertips there are points responsible for the functioning of all organs; we do this so that when singing our ligaments are helped by our entire body.)

Now let's move on to articulation gymnastics. What is the articulatory apparatus? (tongue, lips, hard and soft palate, lower jaw.)

Exercises:

1. Football (tip of tongue moves from right cheek to the left)
2. We brush our teeth from the outside and from the inside.
3. The tongue draws a path inward across the sky.
4. Move your lips from side to side, in circular movements.

Where does the singing process begin? (with a breath)

Where do we direct the air when we inhale? (to the stomach). The body is loose, the shoulders are lowered.

Exercises:

1. Let's inflate balloon(inhale through your nose, hold your breath, exhale through the SSS, the air comes out, the ball remains.)
2. A short breath into the stomach, a short exhale to “shoo”, “shush”.
3. Riding a motorcycle (arms extended forward, inhale - brushes back, fasten, exhale RRRRRRR).
4. Feet shoulder-width apart, arms at shoulder level, elbows bent parallel to each other. We connect the elbows, inhale, elbows to the sides, tack, body down. Exhale to “Ha.”

Tongue Twisters:

1. The bull was blunt-lipped, the bull was blunt-lipped, the bull had a white lip and was blunt.
2. The ships tacked and tacked, but did not tack.
3. The common duck duck dived and surfaced, surfaced and dived.
4. There is a priest on a head, a cap on the priest, a head under the priest, a priest under the cap.
5. How 22 Egorki lived on a hill on a hill. One Yegorka, two Yegorkas, etc.

The teacher's attention should be directed to:

• muscle freedom;
• correct posture;
• active work of the muscles of the respiratory-vocal support;
• the ability to take a breath and expediently distribute the exhale;
• operation of the resonator system;
• general speech intelligibility;
• rhythmic precision.

Text pronunciation options:

• active exhalation at the end of the phrase (tongue twister “Bull”);
• pronunciation with different intonation (surprise, joy, indignation), change of semantic center (“Duck”);
• use of verbal action (“Pop”).

1. Singing with your mouth closed. When singing to a closed sound, resonators develop.

As you climb up the sounds, make sure that the larynx remains in the same position.

3. Development of the correct attack.

Make sure your lips are free and have an even, full sound when moving to the head register. The slower the vibration speed, the better.

5. Development of jaw mobility.

7. High larynx training.

You should not hold the sound “ney” in your nose. It will already be quite “nasal” due to the exaggeration of the “n” sound.

3. Updating knowledge.

Hearing

Now we will listen to the song “The Lion and the Barber” performed by the group “Remake”. Notice how this piece is performed. With or without the accompaniment of any musical instrument? Is it one-voice or will there be several voices? What do the performers portray (imitate) with their voices? Is there a main voice or are all voices equal in sound?

The song "The Lion and the Barber" is playing

So, was the piece accompanied or a capella? (a capella) Was it one-voice or were there several voices? (multiple voices) Are all voices equal or are there solo parts? (one voice – solo part) What served as an escort? (the role of accompaniment was performed by the remaining voices) What they tried to portray, imitate the other voices (sound of various musical instruments)

4. Motivation and goal setting

Unique voice musical instrument, they can depict a lot. Now you and I know that you can portray a lot with your voice. Even the way many small streams flow into one river. One voice - the main one - leads the melody, the rest will have to “pour” their voice into the overall sound. But at the same time, without interrupting each other and listening to the main one. With such harmonious, harmonious singing, the result will be a “full-flowing, full-sounding river.” Therefore, the topic of our lesson "Sounds Living in Unity" .

Do you like to sing in chorus? Why is it better to sing in chorus? (Choir - good!)

What is good? When does a person feel good? (Then, when a person is surrounded by friends, when there is mutual understanding between people, they are connected by good relationships, caring for each other. When peace and friendship reign in society, then everyone is happy.)

Read the word that is written here (S-PART-E. S-combination of PARTS into an E-single).

5. Primary assimilation of educational material.

The choir consists of different voices, parties. When the group is large, it is called a choir, and when the number of singers is small, it is called ensemble. What is the name of singing when all members of the ensemble sing in one voice? (unison) Do we always sing in unison? (No) Each party can have its own voice, its own role. Everyone in the ensemble listens, complements and enriches each other. The singers' voices are different, but they don't stand out. They affirm not themselves, but the whole. When everything is interconnected, everything is on time and in place, then harmony and beauty are born. When agreement arises between sounds, they complement each other and thereby give rise to euphony. This euphony will also be called an ensemble. Vocal ensemble- this is the combination of all vocal elements into a single whole. So, what meanings of the word ensemble have we met today?

8. Summing up the lesson and reflection.

• What new concepts did you learn about in class?
• Meanings of the concept ensemble.
• What did you remember most about the lesson and what did you like?
• Performance of the song “Sleepwalkers” by the muses of L. Rubalskaya, lyrics. B. Savelyeva.

List of used literature.

1. Dubrovskaya S.V. Famous breathing exercises Strelnikova. – M.: RIPOL classic, 2008.
2. Emelyanov V.V. Voice development. Coordination and training. – St. Petersburg: Publishing House “Lan”; Publishing house "PLANET OF MUSIC", 2007.
3. Box V.I. “Vocal in popular music” M., 1989.
4. The world of vocal art. Grades 1-4: program, lesson development, guidelines/aut.-state G. A. Suyazova. – Volgograd: Teacher, 2009.
5. Teaching Methodology pop vocals“Pure Voice” / Comp. T.V.Okhomush
6. Morozov V.P. The art of resonant singing. Fundamentals of resonance theory and technology. – M., 2002.
7. Romanova L.V. School of pop vocals. - St. Petersburg: Publishing House "Lan"; Publishing house "PLANET OF MUSIC" 2007.

Suscheva Natalia Alexandrovna
Job title: Pop vocal teacher
Educational institution: MBUDO DSHI Ilsky village
Locality: Krasnodar region Seversky District urban-type settlement Ilsky
Name of material: Public lesson
Subject:"Various methods of working on vocal technique using health-saving technologies"
Publication date: 08.10.2018
Chapter: additional education

Open lesson on pop vocals by Natalia Suscheva

Alexandrovna

Lesson topic: various methods of working on vocal technique with

using health-saving technologies.

The purpose of the lesson: Reveal and justify various methods of working on

vocal technique in pop vocals.

Tasks: 1) identify the differences between pop and academic vocals

2) Determine the sequence of exercises

3) Practically clearly show children performing exercises

of different ages and levels of training.

Introduction. Similarities and differences between academic and pop

vocals.

Singing is a type of music where, as a living musical instrument,

exercise, must be healthy.

In my class there are 30 vocalists from 6 to 32 years old. During our lesson I

students. Since we will talk about pop vocals, I would like

to clarify the difference between the genres of academic and

pop vocals.

Academic vocals differ from pop, jazz and rock vocals

its strictly classic position, this is an old classic vocal

a school that does not involve singing into a microphone. In academic

vocals there are certain frameworks developed by experience and

history vocal music. These frameworks generally do not allow

directions. With experience, an academic singer develops

a certain vocal position due to which the voice becomes

very strong and acquires a large volume. However, in rare cases,

academicians can perform in other vocal genres if they can

make sound easier.

Pop vocals

Pop singing combines many song styles,

combines the entire palette of vocal art. Pop vocals, before

of all, implies singing from the stage, but the concept of pop vocals, like

usually associated with music that is easy to understand and easy to understand. IN

In pop vocals you can hear both folk motifs and elements

vocals differ from academic vocals in being more open and more

natural sound. However, singing skills, correct positioning and

sound support is just as necessary in pop vocals as in

academic.

Working on breathing. Respiratory system A.N. Strelnikova

The art of singing is, first of all, the art of proper breathing, which

is the most important factor our health.

To strengthen and develop

respiratory system there is a system of breathing exercises

Alexandra Nikolaevna Strelnikova. Its main idea is that

breathe in resistance mode. In this case, the respiratory muscles

I have to work more actively.

Ball: Stand straight with your chin parallel to the floor. Put your hands

on the lower ribs and inhale so that they expand

at the same time, inflating your stomach. (the balloon inflates) You need to breathe

lower ribs, stomach, corners of the lungs (back). To feel where

It is precisely the support of the sound that is located; you need to slowly blow out the letter “c”.

Raise the corners of your lips slightly to expose your upper teeth. (This

the position is just different from the academic one)

Pump: Starting position: stand straight, place your feet apart

shoulders, arms along the body. You need to make a slight bow, stretch

hands to the floor, without touching it, to the sounds “s” and “sh”. Don't get up

straightening up to the end, and bowing again with an inhalation. Bows are made

rhythmically, the back is round, the head is lowered, do not bend over too much

Perform 8 breaths-movements on the sound “s” and 8 breaths-movements on

sound "sh".

Head rotation: stand straight, feet shoulder-width apart. Turn your head to the right

– inhale, exhale to the starting position. Then turn your head to the left - inhale

starting position exhale. Don't stop your head, keep your neck relaxed.

Snake: inhale into the lower ribs, exhale to the sound - sh..., then the rest of the air

exhale with the sound of a pyra from top to bottom. Do 8 at a time

Woodcutter: feet shoulder-width apart, hands clasped in front of you. Making a swing

up - inhale, go down - quickly exhale with the pronunciation “UH-H-H”

Perform 8 breaths-movements.

Pumping: pump air into the lower ribs (4 breaths) and exhale sharply

sound "Ha". Take 8 breaths.

One two Three: In my work I often use exercises to achieve

several tasks. This is the development of singing breathing and the development of articulation.

Take a deep breath and count from one to eight until it's over

Egorka: We take a deep breath, quickly and clearly pronounce “Like on a hill

on a hillock stood thirty-three Yegorkas, one Yegorka, two Yegorkas, three

Egorka..."

Working on vocal technique.

Singing helps relieve stress. Scientists have discovered that in the brain during

singing produces endorphin, a substance that makes a person feel

joy, peace, great mood and increased vitality

We sing with the kids through simple exercises:

“Here I go up, here I go down”

“From the clatter of hooves, dust flies across the field”

“Three magpies chatter,

chattered on the slide"

While the child is small, there is no opportunity to work on all vocal skills

skills, as with adult children, so we take on simple

simple songs with a small range, gradually expanding it.

At the same time working on the purity of intonation, breathing and

expressiveness of performance.

"A bug is crawling into the cellar"

"Chi-ki, chi-ki"

It is very important that at the time of chanting, children do not stand in a stance. Let's move on

It's time to sing, we bend over and wave our arms.

Treatment by singing was also described by Aristotle and accepted by everyone

current religions. For many centuries

Church singing still serves as a healing remedy to this day.

In pagan culture there was a custom when the sick person was placed

inside the round dance, and sang, thereby healing all ailments.

Vocal exercises improve the speech function of the body.

There is a known practice where stuttering is cured by singing. The sooner

a child who stutters will practice singing, the more

chances to get rid of this shortcoming.

Vocals are a unique means of self-massage internal organs. Case

is that when a person sings, only 20% of the sound is directed to the external

space, and 80% - inside, into our body, forcing more intense

our organs work.

Stocatto exercises:

« We ran across the banks »

Chant with alternating tempo:

« White snow, white chalk »

Rhythmic chants with jazz elements:

"Forty Mice Walked"

"Dum, de-dum"

The miraculous power of sound was given its due in Rus', it was even given

some mystical role. The simplest example: having been injured, a person groans,

not because he wants to call for help. As it now turns out, moans have

the effect of anesthesia, stimulating the activity of some parts of the brain, and suppressing

activity of others. Moans stimulate the release of endorphins into the blood, which

The analgesic effect is 50 times stronger than morphine!

The creator also spoke about the healing effect of singing throughout the body.

systems for restoring and improving the voice “Fizvokaliz” A.I. Popov.

Anatoly Ivanovich Popov, having gone through a long difficult path, created an invaluable

health system - physical therapy, which can not only save people from

occupational diseases, but also to improve health, prolong full-fledged

life, postpone old age.

To the Great Patriotic War In the army he contracted tuberculosis. Moreover

fell ill with a rare and very severe form of it - tuberculosis of the submandibular

lymph nodes. He survived, although tuberculosis was accompanied by endless

tonsillitis and inflammation of the tonsils. The doctors kept telling him: “You won’t be able to sing!” New

You won’t be able to get your throat out.” But before his illness, Popov sang opera songs very well.

For some, the doctors' verdict could be a tragedy, but not for Popov. Huge

self-confidence and natural ingenuity prompted correct solution. He started

Subsequently, Popov began to advise everyone to start strengthening their health

namely from reading poems by domestic poets. After all, the Russian language is so melodious.

Reading aloud the works of Pushkin, Lermontov, Tyutchev, Fet, Popov

felt that his throat stopped hurting and his voice became stronger. Thus,

Popov cured his tuberculosis.

Particular attention should be paid to the sound “r”, since it contributes to

For the sound “r” we sing a tonic expanded triad.

"Ra-ro-ri-ra-ro-ri-ra"

this fast paced chant is not only good

warms up the ligaments, but is also great for expanding the range.

Stocatto exercises:

“Mi-i-i-i-ya” we sing abruptly on a support from bottom to top in octaves

“Ay-yay!” from top to bottom, sharply and abruptly in three notes. The sound should

hit the roots of the front teeth.

Glissando exercise and development of the pop yodel technique:

"Answer me"

from bottom to top and back in octaves

This exercise requires wider breathing and evenness of sound throughout.

range:

“Mi-i-i...” from note C to note G and back twice, then from note C to

note D of the second octave and back in one breath

Conclusion.

Each teacher is free to use a wide variety of techniques and

exercises for development and strengthening singing voice and vocal

skills. The main thing is that the child feels comfortable in classes and

I was happy to move towards a positive result. The teacher needs

be very careful when choosing exercises for your child and

repertoire that allows you to reveal all the possibilities as widely as possible

of this student. It is very important to know when to stop here. Don't bother

the student through long exercises, but they should not be neglected. Necessary

know the characteristics of each student. Someone better sing from above

down, and someone vice versa.

Singing is useful in any case, even if a person believes that he does not have

In Rus' they believed that the soul itself sings in a person and singing is its

natural state. If you have Bad mood, you get sick often,

If you feel tired and tense, there is only one piece of advice - sing... and rejoice

ST. PETERSBURG STATE BUDGET EDUCATIONAL INSTITUTION

ADDITIONAL CHILDREN'S EDUCATION

"St. Petersburg Children's Art School No. 19"

OPEN SOLO SINGING LESSON

“WORK ON VOCAL BREATHING AND CORRECT SOUND PRODUCTION IN JUNIOR CLASSES OF THE VOCAL CHORAL DEPARTMENT AS A NECESSARY CONDITION FOR THE FORMATION OF SINGING SKILLS”

Teacher - Elizaveta Borisovna Bokova

Concertmaster - Anastasia Aleksandrovna Klimanova

Saint Petersburg

November 26, 2012

Introduction

This open lesson is dedicated to working on proper breathing while singing, as well as how to correctly explain and show a child Right way in singing, so that the voice always sounds clear and not strained, regardless of the registers and nuances in the vocal work.

During classes, teachers often forget about the importance of proper breathing, which is the basis for long-term and harmless use of the singer’s vocal apparatus.

It is very important to explain to the child that “breathing deeply” is a myth, because the most correct, healthy and natural breathing, which, by the way, all newborns and small children breathe, is not the chest, but is done with the movement of the abdomen (diaphragm), and also small (i.e., you don’t need to “inflate” much with it). It is also important to explain to the child that breathing is, first of all, relaxation, so that he does not clamp down when taking in air from effort (as often happens), explain that when breathing correctly, it feels as if you are taking in air with your stomach, and not with your lungs, and all the air goes out. as if immediately upon inhaling into the tummy it feels like it.

It is very important to explain to the child why such breathing is so important. You need to tell him, of course, simplified form that with incorrect chest breathing, we take in air from that part of the lungs (the upper part, in which the shoulders also rise), around which there are no muscles, and when we exhale, the air does not receive the necessary pressure to go directly to the resonators. At the same time, our vocal cords and the muscles around them do double duty - not only do they create the pitch of sound, they also hold back and push air (because of this, hoarseness and frequent fatigue of the cords in both small and adult singers). When we take in air correctly, the diaphragm, which is one of the strongest muscles in our body, gives the air the necessary “send”, and it immediately goes to the resonators - chest and head, where they are easier to control, and there it sounds, filling our body with sound. At the same time, the ligaments calmly do their job, creating the sound we need. There have been cases when, while a person was singing, he took in the air incorrectly and turned his head sharply - and his ligaments tore from tension. From this example we see how important it is to ensure that the child breathes correctly while singing, because it is very important to protect, preserve and develop this fragile instrument.

Also in our lesson we will discuss and show how to correctly direct sound into our chest and head resonators, and so that the sound everywhere sounds smooth, ringing and beautiful.

At the same time, it is very important that the child sings in “his own” voice, without copying anyone, otherwise his sound may deepen and go back into the throat, which often happens when children begin to copy opera singers or their adult teachers. He will need to copy only the correct sensations, the muscle memory of the teacher, who, in turn, must understand how to explain these sensations, correct breathing and sound production to the children standing in front of him so that everyone, even the most restless and inattentive child, understands and repeats it. This is where the game comes in, interesting images, as well as works that the teacher will give to the student in order to interest and not lose attention, to affect the participation of the child’s feelings and consciousness, which are so important during lessons. All this will contribute to the fact that the student, using his voice correctly, will not only become involved in artistic culture through music, but will also create something new in music and contribute his own artistic value.