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Types of vocals and singing voices. Methods for working on smooth voice leading in an academic vocal lesson

Types of vocals and singing voices. Methods for working on smooth voice leading in an academic vocal lesson

31.03.2019

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STATE INSTITUTION "MUSICAL SCHOOL OF AESTHETIC EDUCATION №1, LUHANSK"

Outline of an open lesson in the class of academic vocals on the topic:

"Methodsworkabovesmoothvoice leadingonlessonacademicvocals"

Luhansk 2016

Form organizations - individual lesson.

Target lesson: individual selection of methods for developing smooth voice leading in a student of the 1st grade of academic vocals.

Tasks lesson: vocal academic development hearing

1. Development of singing breathing skills (development of a feeling of diaphragmatic "support"; work on breathing as the most important factor correct voice).

2. Development of the articulation apparatus (activation of the articulation apparatus; diction clarity of pronunciation of consonants; formation of a unified manner of singing vowels).

3. Development of hearing, musical memory, feelings of metro rhythm.

4. Development of the muscles of the lips, tongue, cheeks.

5. Development of the skill of analyzing a verbal text and its content.

6. Formation of skills of concentration of attention, hearing, thinking, memory, control of emotions.

Plan lesson:

1. Introduction.

2. Main body:

chanting;

Work on works.

3. Final part.

4. Summing up.

Equipment: piano, notes.

Volume behindconceptions 45 minutes.

move occupyI

1. introductory Part.

Teacher: Good afternoon, dear attendees. I, Anastasia Valerievna Sokolova, an academic vocal teacher, am glad to welcome you to an open lesson with Sergey Mezhensky, a student of the 1st year of study. The topic of our today's lesson: "Methods of working on smooth voice leading in the lesson of academic vocals."

The reason for choosing this topic is that the first stages of work on voice formation in a student are associated with the development of the skill cantilenas, i.e., smooth, coherent singing, a smooth transition from sound to sound. L. B. Dmitriev points out that cantilena - “This is the basis vocal music"[Dmitriev L. B. "Fundamentals vocal technique"- S. 342]. However, he also emphasizes that cantilena singing is not possible without a freely flowing sound. It (sound), in turn, includes such factors as correct sound formation, close word formation based on breathing, and the absence of muscle clamps.

During the lesson, I will use such basic methods of working with students as showing by voice, auditory analysis of voice formation, muscle-muscle association, connecting the student's imagination. In my work, I will focus on the phonetic method of educating the singer's voice.

2. Main Part.

Chanting: 1) before starting work, one should remind about the singing installation of the performer-vocalist, and also check the staging of the student's body; 2) remind about the correct, calm breath before singing;

1 exercise - "mormorando" (mooing). Singing closed mouth, its task is to warm up the ligaments, as well as focusing the student's attention on resonant sensations. Requirements for performance: lips are closed, teeth are open, a calm smooth breath and a relaxed sound of performance. Execution range c№ - a№.

Exercise 2 - terts singing up and down on the syllables "mi-ya". Its task is to continue strengthening the resonator sensations during performance, as well as actively closing the lips when pronouncing the consonant "m". Execution range c№ - a№.

Exercise 3 - quint singing up and down "do-re-mi-fa-sol-fa-mi-re-do". The tasks during the performance are the precise work of the articulatory apparatus, the economical consumption of breathing for the entire exercise, the monitoring of a single singing position during the performance of the exercise. Execution range h - h№.

Exercise 4 - singing up the major pentachord and down the major triad to the syllable "la-a". Tasks of the exercise: activation of breathing, close formation of a consonant, expansion of the student's range. Range of exercise - h - dІ.

Exercise 5 - singing "do-mi-sol-mi-do" up and down the major triad. The main tasks of the exercise: singing on legato, monitoring the close formation of consonants in a single singing position, monitoring the unforced performance of the exercise in the upper part of the range. Range of exercise - h - cІ.

Exercise 6 - octave singing along the main steps major scale, the syllable "la-a" or "do". Objectives of the exercise: singing on staccato, with a light sound, but leaning on the breath; expanding the student's range. Range of exercise - l - fІ.

Jobaboveworks:

- O.VoroninAndR.VoroninVocalise№ 6. From the collection "30 vocalizations based on Ukrainian folk songs". The key is c-moll.

The melodic construction is based on tertian passages along the main steps of the minor scale, as well as the gradual singing of the melody along the pentachord. The same melodic constructions formed the basis of the chanting at the beginning of the lesson. As a result, the developed singing skills are transferred to piece of art, which is already a vocalise. The melody of vocalization, built on folk intonations, allows the student to quickly perceive, as well as reproduce musical material that is understandable.

Also necessary condition on early stages vocal lessons, is the duplication of the vocal part by the accompanist, which is presented in the musical text of this work.

Tasks for execution:

3) use your breath sparingly due to the slow tempo of the piece;

4) logically build musical phrases.

When singing the vocalization, the student was asked to lead the melody with the help of his hand, as if drawing one smooth line brush. Attention has been shifted to physical action, which led to the removal of excessive tension from the vocal apparatus.

-L.IN.Beethoven,sl.G.burgher"Robin". Key - E-dur. The construction of the melody in this work is based on repetition, as well as singing the main tones of the major triad. Consolidation of the skills of singing the major triad up and down were also worked out in the exercises at the beginning of the lesson.

The reasons for choosing this work for vocal lessons in the first grade: the availability of poetic text; convenient product range (h - h№); duplication of a melody in a piano part.

Tasks for execution:

2) do not distort the pronunciation of consonants and vowels;

4) the transfer of the semantic load of the work;

The student was asked to retell poetic text works in your own words, and analyze the image laid down by the author. Answer the question why, despite the sad act of the protagonist, the author uses major key works.

When singing the piece for the first time, the student was also asked to use a legato stroke to connect the melody of the phrase into a single whole.

-Ukrainianfolksong"Yakdiwaitinglita." The key is F-dur.

The melody of the work of a dance character is built on a gradual ascent and descent to the main tones of the major mode. The form of the work is couplet. With repetitions in the piano part, the melody is not duplicated, which, in terms of intonation, makes it difficult for students to perform. However, the availability of the melody for playback, even without duplication by the accompanist, allows the student to cope with this task. The fast tempo of the work, as well as the relatively high tessitura of the performance, provokes the forcing of sound when singing. Therefore, more attention should be paid to the calm reproduction of the melody of the song, without unnecessary voice-forming efforts.

Tasks for execution:

1) monitor the free, unforced reproduction of the melody of the work;

2) do not distort the pronunciation of consonants and vowels;

3) use your breath sparingly for the entire length of the phrase;

4) transfer of the dance character of the work;

When the melody of the work was played for the first time, the student was asked to use the “brush” technique tested on previously completed works. As a result, the smoothness of voice leading was worked out, attention was paid to the presence of pauses in the melodic structure, unforced reproduction of musical material was worked out.

3. Final Part .

Homework task.

This concludes our open lesson. Thank you all for your attention.

4. P leading results.

At the lesson, an individual selection of methods for developing smooth voice leading in a student of the 1st grade of academic vocals was worked out. Such main tasks were worked out in the lesson as: development of singing breathing skills; development of the articulatory apparatus; development of hearing, musical memory, sense of metro-rhythm; development of the muscles of the lips, tongue, cheeks; developing the skill of analyzing a verbal text and its content; formation of skills of concentration of attention, hearing, thinking, memory, control of emotions.

methodical security: Dmitriev L. B. Fundamentals of vocal technique / L. B. Dmitriev. - M.: Music, 2007. - 386 p., notes, ill.

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singing voices

Exists various systems classification of voices (and singers, respectively). Some of them take into account the power of the voice, that is, how loud the singer can sing. Others - how mobile, virtuoso, distinct the singer's voice is. Still others include non-musical characteristics, such as appearance, acting skills, etc.

Most often, a classification is used that takes into account the range of the voice and the gender of the singer. Even guided only by these two criteria, many varieties are obtained:

Female voices:

soprano - high female voice
mezzo-soprano - medium female voice
contralto - a low female voice (in choral music it is customary to call it simply alto)

Male voices:

tenor - high male voice
baritone - medium male voice
bass - low male voice

Other vocal varieties - coloratura soprano, dramatic tenor, bass-baritone, bass profundo. There is even a category of male singers who sing in the range female voice. This type of voice is rare, but still used today, mainly in opera. In baroque music, many roles were written for castrati, male singers who had been castrated as children to prevent mutation and to maintain a high, female-like voice. In modern vocal performance, these roles can be performed by a singer who owns a developed falsetto singing technique. Singers of this type are called countertenors (aka male alto).

Where to learn to sing?

The question is undoubtedly quite general: the fact is that some are interested, for example, in jazz improvisation, while others are quite confident in karaoke, etc.

Classification of vocals according to the manner of performance

Academic vocal (classical, operatic)

Academic vocals - old classical vocal school. Academic singers sing in the opera, in the academic choir, chapel, symphony orchestra, as well as in the genre of chamber vocal music. Academic vocals differ from pop, jazz and rock vocals in their strictly classical position. Academic vocals do not involve singing into a microphone. In academic vocals, there are certain frameworks developed by the experience and history of vocal music. These limits, as a rule, do not allow the academic singer to use his voice in other vocal directions. With experience, an academic singer develops a certain vocal position, thanks to which the voice becomes very strong and acquires a large volume. However, in rare cases, academicians may perform in other vocal genres if they can make the sound easier.

pop vocal

pop vocal - pop singing combines many song directions, unites the entire palette vocal art. Pop vocal, first of all, means singing from the stage, but the concept pop vocal, as a rule, is associated with light and easy-to-understand music. In pop vocals, you can hear and folk motives, and elements of jazz, it is also art song and elements of rock music. Pop vocals differ from academic vocals in a more open and more natural sound. However, singing skills, correct position and sound support are just as necessary in pop vocals as in academic ones.

jazz vocals

Jazz vocals - first of all, implies an ideal sense of rhythm and harmony, as well as the mobility of the voice and the ability to improvise. In jazz singing, it is necessary to feel the form of the work, to be able to present your understanding of the melodic theme, modifying it, but without leaving the necessary harmony. Just as important is the sensitive partnership of musicians, the ability to improvise on the go.

rock vocals

Rock vocals are usually the singing of a vocalist in a rock band. Rock vocals differ from jazz singing in a more emotional presentation. Rock vocals suggest more semantic load than vocal. However, a rock vocalist needs to have serious vocal training. A rock vocalist must also have courage and complete freedom in an emotional and musical sense.

Folk singing or ethnic singing

Folk singing, ethnic singing, as follows from the term itself, is singing that has existed since the appearance of man, and differs characteristic features characteristic of one or another nationality, ethnic group. echoes folk tradition can also be found in the academic (classical) musical culture, and in pop (urban) musical culture. In general, folk singing is characterized by a flat sky, singing on ligaments.

The so-called throat singing- a kind of folk singing, in which the singer, while singing, uses not only the ligaments, but the throat itself, the resonating cavities of the mouth, larynx, due to which the overtones of the main tone become audible.

At the same time, the basis of everything is precisely the academic production of vocals: it gives freedom of voice control.

At the same time, the transition of the “jazz to academic” type can become a real break for the singer, which is why it is advisable to immediately decide what exactly you want to learn.

It is important to understand that it is impossible to teach professional singing in 2-3 months, even for people with a natural voice and perfect pitch.

In the case of academic vocals, the first year you will have to sing only exercises, vocalizations (singing without words - in “oh-oh-oh” or “ah-ah-ah”) and simple songs.

Then you can gradually move on to romances and simple arias. It's not that the science of singing is based on some technique available to the elite. In fact, you can tell how to sing correctly in half an hour, everything else is a matter of training.

In that sense, singing is like a sport. Depending on the natural abilities, it will turn out a little faster or a little slower, but in any case, hard training is needed. Vocal lessons are history for several years.

The most common and most correct form vocal training - individual sessions with a teacher (here we do not touch on the ensemble-choir school - this is a whole separate world).

Finding your own teacher is quite difficult, and even recommendations do not guarantee anything: it is also important to get along purely humanly, because you will have to spend a lot of time together. The manner of teaching is even more than the varieties of vocals, it can be said that each teacher has his own manner.

There is an old academic school, there are former rockers, etc. Of course, one thing unites them: there are no non-singing singing teachers

The past and/or present success of a vocalist on stage is no guarantee that he will teach you how to sing well.

The quality of the singing of the teacher himself does not directly affect the quality of teaching - moreover, the principle of "do as I do" does not work here, because the vocal apparatus is different for everyone (someone has a longer neck, someone has a shorter one).

Academic or classical vocals differ markedly from jazz or pop performance techniques. It is based on musical traditions that developed in the 16th century. Today, classical vocals are performed in the opera, chapel, and academic choir. However, some pop singers also work in an academic manner.

Distinctive features of academic vocals

Academic vocals do not involve the use of a microphone and other amplifying equipment. The vocalist, thanks to complete control over his voice, is able to sound the hall without merging and without entering into confrontation with the orchestra.
A competent academic vocalist is distinguished by the ability to sing in a wide vocal range and the ability to qualitatively reproduce the most complex material in the musical and technical sense. At the same time, the slightest superfluous overtones are not allowed: tremolations, sips, wheezing and other sound defects. Academic vocals - the desire for an ideal singing style: the singer achieves a volumetric clear sound of the voice.
musician working in classical technique, masters the widest palette of means of musical, vocal, artistic expression. The singer is able to reproduce both the most subtle and transparent tones, and produce extremely bright expressive compositions. At the same time, regardless of the range of feelings invested in the song, it turns out to be harmonious, beautiful and aesthetically perfect.

Why study classical vocals?

Just as a building needs a strong foundation, so professional musician you can not do without a quality vocal base. Regardless of the genre in which the singer plans to work, academic vocals can become an excellent basis for his future career. creative development. It allows in maximum degree develop natural abilities, master basic vocal techniques, study and learn how to effectively apply voice control mechanisms.

How is academic vocal training going?

At the lessons of academic vocals for beginners under control professional educators you will be able to develop and develop the following important skills:

Proper singing breathing.
Clear articulation and diction;
Ability to place the right accents;
The ability to competently use singing techniques, which include the use of resonators, singing on a support and other vocal abilities.

In addition, academic vocal lessons will help you prepare for performing on a professional stage. For example, teachers of the music school site help their students to choose a repertoire that best suits the vocal data, and also contribute to the development of artistry and emotional expressiveness of the singer.

Sometimes it seems to people that they cannot sing beautifully, that they have no voice. We know for sure that if you can speak, then you can learn to sing, you need desire and patience, we will take care of the rest. Thanks to our modern teaching methods, we have taught more than 100 students to sing beautifully and this is just the beginning. Join and you.

Principle of our work:

individual approach to each student
use of the most effective methods teaching music, both classical and contemporary
organization of a personal schedule of classes for each student
studying in the studio.only the best music teachers
Our private music school offers music education for children and adults, your age and musical training doesn't matter. The course of classes is selected individually, after a free test of your musical abilities.
Our school offers a flexible payment system for music lessons and the most best prices! We care about our students, so we regularly organize concerts and demonstrations
Come to learn music for children and adults and choose courses for yourself and your children at the most attractive prices!

Vocal courses for beginners is an express course for teaching vocals from the zero level according to a specially designed program. You will master the most important vocal principles and techniques of singing in just 2 months of classes!

Below is detailed information on vocal courses for beginners:

Who are our vocal courses for beginners suitable for?

- beginners who have never attended singing lessons before, that is, completely from scratch,
- singing vocalists who have not been able to liberate their voice and sound freely and beautifully.
We have no age restrictions, because we guarantee you results at any age!
Important: if you are not good at hitting notes yet (you cannot repeat a familiar melody accurately enough), then the Vocal Solfeggio Course is suitable for you, after graduating from which you can go to the Vocal Course for Beginners.
What you will learn by attending our vocal training courses from scratch
- correct breathing and voice,
- removing the clamps in singing, which do not allow the voice to sound free and beautiful,
— management of the possibilities of your voice and their development,
— basic techniques singing: sound production, resonation, voice leading a single line (legato, staccato, glisando, cantilena), alignment of registers, voicing for the stage,
– work with the repertoire: the correct learning of new songs on your own, the embodiment of the content in sound
- the laws of public performance and the basics of stage movement.
At the end of the vocal course for beginners, you will feel the free and beautiful sound of your voice! For further development Voice and Vocal Techniques Intermediate and advanced vocal courses are provided.
During the period of study, you have the opportunity to participate in our concerts in concert halls and clubs of Khabarovsk.
Detailed program of the Vocal Course for Beginners
How our vocal training course from scratch differs from other vocal courses in Khabarovsk
There are no analogues to our course: the vocal course for beginners is designed in such a way that you step by step master the basic basics of singing according to our unique methodology designed specifically for beginners.
Our vocal courses are:
— most experienced teachers
- guaranteed result
- high quality
- low price!

pop vocal

Pop vocals in their sound are between academic (classical) and folk. The main difference between academic and folk vocals lies in the goals and objectives of the vocalist. Academic and folk singers work within the framework of the canon, regulated sound, it is not customary for them to deviate from the norm. The task of a pop performer is to search for his own sound, his original, characteristic, easily recognizable manner of singing and stage image.

In pop vocals, unlike academic and folk vocals, intelligible diction is important, since words are one of the most important components of a good song. For the same reason, in pop songs, phrases that are difficult to sing and require a quick change of breath are much more common, while in academic and folk songs, often, the text is more adapted to the music.

Variety vocals combine the technique of academic vocals, folk singing, as well as a number of specific techniques characteristic of pop music.

The main feature of pop vocals is the search and formation of a unique, recognizable vocalist's voice, similar to how pop instrumentalists are looking for "their" original sound. Nowadays, in order to achieve competitiveness, mastery of a fairly wide range of techniques is required. Just like a modern electric guitarist needs to be able to do much more than his colleague of the 50s and 60s. Each "color" of the voice requires methodical training.

Techniques used in pop vocals

Split

A singing technique in which a certain proportion of another sound is mixed with a pure sound, often representing non-musical sound, that is noise. One respiratory stream, as it were, splits into two. Some of the methods of folk singing (for example, the "throat singing" of the peoples of Asia), as well as the well-known subtone and drive, can be attributed to splitting.

Drive

One of the most important in the arsenal of rock vocalists is the "drive" splitting technique (its subspecies: growling, roaring, hoarse voice, death vocals, etc.). Some ten years ago, it was believed that after using this technique, "the ligaments can simply be spit out - they will no longer be needed." Classical vocalists consider it almost the eighth deadly sin, and teachers of the old school are sure that it is impossible to teach singing like this - it either comes from nature or not.

subtone

Breathy singing. Examples of this technique can be heard in jazz and pop music, such as Tony Braxton, Cher or Tanita Tikaram.

overtone singing

Also known as "throat singing". Using splitting to play overtones to the root allows you to sing double sounds. Characteristic of Far Eastern music (Tibet, Tuva, Mongolia, etc.).

Glissando

Also known as "slide". Smooth transition from note to note.

Falsetto

Singing without support. Allows you to extend the range to the side high notes. Often found in jazz and pop music.

Yodel

Also known as "Tyrolean singing". It consists in a sharp transition from singing "on a support" to falsetto. In modern music, it is widely used by such performers as Dolores O "Riordan (Cranberries), Alanis Morissette, Billie Myers and many others.

For some time now, the so-called "reverse yodel" has become widespread, which, as you might guess, consists in a sharp transition from falsetto to "support". Examples of this technique can be found, for example, in the songs of Linda Perry (4 Non Blondes).

strobas

These are very low notes that cannot be sung with a normal voice. The sound is very specific, so it is rarely used in music. For example, at Britney Spears- in "Oops, I did it again".

From the point of view of the development and implementation of a person’s natural voice data, the optimal order is first to set up the voice (relevant for any type of vocal), then - to master the pop vocal techniques suitable for you, and most importantly - to form your unique, recognizable voice, characteristic manner of singing and stage image.

When done correctly, even a small voice can sound powerful...
Felia Lytvyn.

Everyone uses the colloquial style of singing. Folk style of singing is usually called "white sound", "open singing", as opposed to the rounded covered sound of the voice in an academic manner. Covering a sound that a person usually does not own by nature makes it possible for the singer to get a two-octave (or more) range of mixed sound that is leveled (in terms of timbre and sound strength) with a smooth transition from the chest part of the range to the head. Who knows how to cover, he will be able to open. But the one who sings only with an open sound will never be able to cover it.

On modern stage mostly singers and female singers sing in a semi-covered manner of vocals. With half-covered singing, the position of the lips is close to conversational, but with a raised soft palate. With such singing, the volume of the oropharyngeal cavity increases and a one and a half octave range of voice is achieved, no longer in a pure chest, but in a mixed sound. At the same time, the amplitude of the vibrato of the singer's voice noticeably increases, the voice ceases to be direct; the timbre becomes richer, more colorful and emotional. But in the upper register with a rich sound, a rattling timbre appears, a "lamb" - a signal of the tension of the vocal cords. Covering transitional sounds and the head register in the academic voice setting leads to the creation defense mechanisms voice device. Ignoring the closed sound deprives the upper notes of their beautiful timbre roundness, and can also lead to premature damage to the voice.

Often unwittingly, and sometimes consciously, many imitate their loved ones. variety performers, blindly copying their manner of singing. Not everyone benefits from this. The birth of a beautiful singing voice for some is a happy surprise, while for others it is a long and painstaking work.

The word vocal comes from the Italian "voche" - voice. But the voice serves only as an instrument, while the art of singing itself is much more complicated than sound science alone. It paints images for us, reflects emotional states. Singing involves not only sound, but also a meaningful word. Vocal is considered as a technological process of artistic singing. As any specialist is armed with knowledge and certain techniques, so the singer must master vocal technique, that is, freely control his voice.

Every person with a sufficiently good ear and developed musicality can be taught to sing. Another thing is that such a student may not become a professional suitable for the stage, but he will sing competently in every sense - both in terms of technique and performance.

academic vocals

Academic vocal - old classical vocal school. Academic singers sing in the opera, in the academic choir, chapel, with a symphony orchestra, as well as in the genre of chamber vocal music. Academic vocals differ from pop, jazz and rock vocals in their strictly classical position. Academic vocals do not involve singing into a microphone. In academic vocals, there are certain frameworks developed by the experience and history of vocal music. These limits, as a rule, do not allow the academic singer to use his voice in other vocal directions. With experience, an academic singer develops a certain vocal position, thanks to which the voice becomes very strong and acquires a large volume. However, in rare cases, academics can perform in other vocal genres if they can facilitate the presentation of the sound.

Development of musical memory

Public lesson with a 3rd grade student (choir vocals)

The purpose of the lesson: Learn to use all types of memory when memorizing musical works.
Tasks:
educational- work on the work in preparation for memorization.
nurturing- instill correct reading text followed by memorization.
Educational- to promote the development of voice, auditory and visual memory.
Expected Result: The results of the lesson should show the level of knowledge, skills and abilities of the student in the perception of this topic.

During the classes.
Organizing time(positive attitude to the lesson) - 2 min. vocal exercises. The student is invited to focus his attention on self-control of the sensations of freedom of his muscles during the work of the larynx. In this case, the constriction of the voice apparatus is traced. I recommend that you stand up freely and “yawn”, and then repeat the exercise with a feeling of freedom. The result has been achieved. Working time - 10 minutes.
Student sings a song D. Tukhmanova "Stork on the roof" sheet music from beginning to end. Attention is drawn to the 4/4 time signature and the correct beat count. It is proposed to conduct for self-control. Attention is activated on the correct reading music text(rhythmic pattern, strokes), which is necessary for further memorization. The song is divided into 2 parts. 1 hour - the student performs by heart. Work begins on part 2. An analysis is being carried out - are there any repetitions and where? We pay attention to pauses, tied notes. What is the difference between this and that phrase? Work is carried out on phrases, while auditory memory is used (we sing a melody), motor memory (occurring jumps), and visual memory. We are trying to memorize the text without the support of musical material. The result is achieved - part 2 is learned by heart. Working time - 15 minutes.
Next piece- new musical notation.S. Apasova "Hymn of Knowledge". First, I sing the song itself so that the student can hear how the work should sound. The next stage is the analysis of the song: the tonal plan, the structure of the repetitive melodic turns. Working time - 15 minutes.

Result: the student in the lesson sang the text from the sheet, and when repeating, he partially remembered it by heart. At the end of the lesson, I thank the student for his work, give him a mark of 5 "excellent" and say goodbye to him until the next lesson.
Homework: Continuation of work on the work. Learn by heart a literary text.

Summarizing:
At rational use time, you can do a lot of work in the classroom. Here big role play not only musical ability student, but also the correct presentation of the material. The ability to help the child analyze, think, organize and put into practice all the skills, abilities, knowledge. The lesson has a pronounced creative character. The effectiveness of the lesson was achieved due to the high interest and vigorous activity student, a favorable psychological atmosphere and creating a situation of success.
Student activity can be assessed as high.
Managed to maintain the style of communication with the student and organize it active work at the lesson. The lesson has reached its goal.