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Target: Learn the first part of the Ukrainian folk song “Crane”, arrangement by V. Sokolov.
Tasks:
Educational:
- consolidate with students the knowledge of compliance with the rules of singing in the choir, health care, and voice protection;
- master vocal and singing skills: pure intonation, singing diction, articulation and breathing;
Educational:
- develop students' interest in choral singing;
- develop harmonic hearing, sense of rhythm, structure, ensemble;
Educators:
- cultivate a love for choral art;
- to cultivate activity and emotional responsiveness in students;
- cultivate a tolerant attitude towards each other.
Equipment: musical instrument (piano), sheet music, scores of choral works.
Lesson type: lesson on introducing new material.
Lesson format: practical work.
Forms of work with students: collective, pair work, individual work.
Class characteristics: The “Kamerton” choir is a group of students in grades 3-7 of the piano department. Children are different in age (9-14 years old), in their physical and mental capabilities, have different knowledge, abilities and skills in choral singing, different nationalities, which creates certain problems. For example, this is the first year that third-graders have been in our choir (before that they were in the junior group of the choir). They do not have the skills to sing polyphonically, many do not intonate accurately. Another problem is that children often get sick and there are many absences from school due to illness. However, the majority of choristers have a positive motivation for educational activities. Many people feel psychological comfort precisely when practicing in a choral group; they understand that the result of their work depends on the contribution of everyone, and they rejoice at every successful performance.
During the classes
I. Organizational moment
Greeting from the teacher.
Hello guys! I am glad to see you. Let's say hello to the guests present at our lesson.
So, are you ready to go?
Then smile at each other and wish each other good luck in your work in class.
II. Warm-up
At the beginning of our lesson, I invite you to take care of your health. And a warm-up will help us with this (the warm-up begins with a healing massage, which includes rotational movements and vigorous tapping of the areas of the maxillary sinuses located above the eyebrows and on the sides of the bridge of the nose, where there is an accumulation of mucus during a runny nose).
Now let’s “feed” the brain with oxygen.
(Performing breathing exercises of therapeutic gymnastics by A. Strelnikova). (Appendix 2).
Repetition of the rules of singing while sitting and standing:
- when singing, the posture should be motionless;
- It is better to move your right leg forward slightly (third position);
- the weight of the body can be shifted from time to time alternately from left to right and from right to left;
- Completely excessive raising of the shoulders is harmful;
- you need to imagine that all the muscles of the neck, right down to the muscles of the back, are completely relaxed;
- the lower jaw should be freed from any tension.
(Students sing, the teacher accompanies).
Now you are fine, lively eyes, beautiful faces. Everyone is ready to go!
IV. Reviewing previously learned material and checking homework
And now I suggest you turn to a new work that we met in the last lesson. Ukrainian folk song “Crane”, arranged by Vladislav Sokolov (Appendix 4). We have analyzed this work in detail. Let's repeat the main stages of the analysis.
(Cheerful, lively, light, agile, bright, imaginative)
Size (2/4)
Key (B flat major (B-dur) with deviations into the dominant key of F major (F-dur))
Tempo (fast)
Dynamics (from piano (p) to forte (f), according to phrasing)
Strokes (non legato)
Form (complex three-part with introduction)
Structure of the first part (a period of 4 four-bar phrases with an ending)
Texture (in the introduction and part I - homophonic-harmonic (the main melody is in the 1st soprano part (S I), the rest of the voices support it harmoniously), in part II - canon)
Your homework was to put caesuras in the introduction and in part I.
In which bars did you add caesuras? (in bars 6, 14, 22 and 26)
And now I suggest you divide into pairs, exchange scores and check with each other whether you have completed your homework correctly.
(Work in pairs, assessing a friend)
V. Lesson topic message
Guys, now I suggest you continue analyzing the song “Crane” and move on to learning it. Do you want to continue this work? (Yes)
So, the topic of our lesson today is the initial stage of learning a choral piece using the example of the Ukrainian folk song “Crane”
But for this we will have to work hard and actively work in class. Ready? (Yes)
VI. UnlearningIparts of the song “Crane”
We will begin our analysis of this work from Part I.
Tasks of this stage of work: achieving accurate intonation, taking breath only in places marked by caesuras, developing harmonic hearing, a sense of rhythm, structure, and ensemble. (solfege)
- Learning the alto part for the whole choir (A)
- Learning the second soprano part for the whole choir (S II)
- Learning the first soprano part (S I) for the whole choir
Now let's relax and play the game "Conductor". Rules of the game: singers must carefully follow the conductor’s gestures and fulfill all his demands. The conductor gives the task which part the choir should perform. ( Role-playing game "Conductor". The student conducts, the choir performs one of the learned parts)
- Combining the parts of altos and second sopranos (in this case, the part of second sopranos is performed by all sopranos together)
- Each party performs its own line
What tasks do you think we have coped with and which ones have we not?
(Analysis of completed work)
VII. Bottom line
Well, it's time to sum up our work today. During the lesson, we repeated the main stages of analyzing a new work and learned its first part. The goal of our lesson was successfully achieved; we successfully completed all the tasks set during the lesson. In the next lesson we will continue working on the first part of the song “Crane” and move on to vocalizing our parts. We will also begin the analysis of part II.
VIII. Reflection.
Did you like today's lesson? How are you feeling after the lesson? Show the colored squares that correspond to your mood (red - good mood, blue - indifferent, black - negative).
How are you feeling physically?
- I am cheerful, I feel good (red square)
- I don't feel any changes in how I feel (blue square)
- I'm tired, I feel bad (black square)
What can you say about the lesson:
- It was easy and interesting for me (red square)
- It was difficult for me, but interesting (blue square)
- It was difficult for me, so I’m not interested (black square)
How do you evaluate your work in class?
- 5 (red square)
- 4 (blue square)
- 3 (black square)
The teacher evaluates the students' work in class.
IX. Homework
Learn by heart your part in Part I (solfeggio). Add caesuras in Part II. Clarify the form of the work.
Bibliography
- Kozlova M.B. Vocal exercises as a way to develop singing skills in young and middle-aged students. http://festival.1september.ru/articles/574865/
- Chuikina S.V. Health-saving technologies in choral singing lessons. http://festival.1september.ru/articles/419396/
Open lesson in the senior choir of the MBU DO “DSHI No. 1 named after. T.P.Nikolaeva."
Teacher: Fetisova Natalya Viktorovna
Lesson topic: Vocal and choral work in 2 and 3 voice works.
Lesson type: integrated application of knowledge and methods of activity.
Form of lesson organization: practical lesson.
Forms of work with students: collective, pair work, individual work.
The purpose of the lesson: Formation of general educational abilities and skills of perception and embodiment of the figurative content of a musical work.
Lesson objectives.
Educational:
1. Starting from the image of a musical work, learn to competently perform elements of polyphony in a choir, master a cantilena sound, achieve purity of intonation and variety of dynamics.
2. Achieve pure unison as the basis for the development of harmonic hearing;
3. Develop in students the ability to clearly conduct their part while playing another one;
Educational:
1.Improve and develop vocal and choral skills.
2.Continue to develop harmonious hearing;
3.Develop musical sensitivity, that is, the ability to hear and listen, the ability to analyze and compare;
4. Expand the musical horizons of students through the repertoire (works of Russian classics, modern composers, folk songs).
Educational:
1. Contribute to the formation of emotional responsiveness of students.
2. Continue work on developing an emotional and value-based attitude to music, the musical taste of students, and the need to communicate with music.
3.Continue to work on cultivating positive personal qualities: responsibility, respect and good attitude towards others, through the content of a musical work.
4. Foster a love for choral art;
5. To foster activity and emotional responsiveness in students;
Equipment: musical instrument (piano), sheet music, scores of choral works.
Methods.
Work on the repertoire: repetition, isolation, comparison of individual parts of the work; comparisons; variability; criticism-self-criticism; assessment.
During the classes.
I. Organizational moment.
Greeting from the teacher.
-Hello guys! I am glad to see you. Let's say hello to the guests.
I propose to do this in an unusual way - in the form of musical improvisation. Everyone will sing their own short greeting.
So, are you ready to go?
-Then smile at each other and wish each other good luck in your work in class.
II. Preparing the singing apparatus for work.
The purpose of the exercises is to prepare the vocal apparatus for active work and bring basic vocal and choral skills to automatism.
Repetition of the rules of singing while sitting and standing:
when singing, the posture should be motionless;
the weight of the body can be shifted from time to time alternately from left to right and from right to left;
Completely excessive raising of the shoulders is harmful;
you need to imagine that all the muscles of the neck, right down to the muscles of the back, are completely relaxed;
the lower jaw should be freed from any tension.
Students perform breathing and diction exercises, sing, and the teacher accompanies.
III. Vocal and intonation work on the works:
Grechaninov “Vaska the Goat”, Rachmaninov “Night”, “Pine”, Slavkin “Miracles Come at Dawn”.
The tasks of this stage of work are: achieving accurate intonation, taking breath only in places marked by caesuras, developing harmonic hearing, a sense of rhythm, structure, and ensemble.
Work with each batch separately. Building unison.
Work on harmonic structure throughout the choir.
Work on the dynamics and diction of the work.
Work on the embodiment of the artistic concept of works.
Conclusion: the lesson is structured competently and professionally (taking into account the capabilities of the choristers). The students achieved their goals and objectives.
Literature:
1. Bulanov V. Method of musical and vocal development of students in the conditions of intensive work of a children's choir. Ekaterinburg, 2007.
2. Kozlova M.B. Vocal exercises as a way to develop singing skills in young and middle-aged students. http://festival.1september.ru/articles/574865/
3. Chuikina S.V. Health-saving technologies in choral singing lessons. http://festival.1september.ru/articles/419396/
4. Sokolov V. School of choral singing [Text]: – M.: Publishing house. “Music”, 1978. – 166 p.
5. “Musical education at school” v.4, Moscow publishing house “Music”
1965 Articles: Y. Aliyev “Ways of developing polyphonic skills in a children’s choir.”
Open lesson on the discipline of choral singing at a zonal methodological association
Teacher : Melnikova Elena Viktorovna
Accompanist : Stasko Marianna Romanovna
Year of study : 1-2
Lesson topic : The initial stage of work on vocal and choral skills in a junior children's choir.
Form: collective.
Lesson type: lesson – repetition, consolidation of skills.
The purpose of the lesson : formation of basic singing skills in students.
Tasks:
Educational: formation of basic singing skills in students. We can include among them:
singing installation;
singing breathing and sound support;
high vocal position;
precise intonation;
evenness of sound throughout the entire vocal range;
use of various types of sound science;
diction: articulatory and orthoepic skills.
Educational:
continued formation of vocal and choral skills and abilities;
continued development of harmonic hearing;
development of musical sensitivity, that is, the ability to hear and listen, the ability to analyze and compare;
Educational :
Education of vocal hearing as an important factor in singing in a unified singing style;
Fostering organization;
Attention, naturalness at the moment of collective music playing.
Teaching methods:
· visual (auditory and visual);
· verbal (figurative comparisons, verbal assessment of performance);
· inductive;
· deductive;
· problematic – search;
· explanatory – illustrative in combination with reproductive (vocal illustrations in the teacher’s voice and reproduction of what the children heard).
Methodical techniques :
· creative tasks and questions that stimulate mental activity and create search situations;
· application of an individual approach, monitoring the development of students, group individual survey;
· encouraging children to exercise self-control and self-esteem in the process of singing;
· variability of tasks when repeating exercises;
· representation “in the mind” of the first sound already on the breath;
· humor, approval, encouragement of students' success in order to stimulate their interest in classes, as a way to evoke positive emotions that increase children's performance.
Psychological conditions in the lesson:
· psychologically comfortable atmosphere. Emotional satisfaction;
· personality-oriented communication, taking into account the level of musical development;
· taking into account individual characteristics;
· differentiated approach.
Equipment : piano, chairs, notes of exercises and chants, choral parts.
Lesson plan
I. Organizational stage.
a) greeting, psychological mood of students;
b) communicating the topic of the lesson and its objectives;
c) introductory part.
II. Main part.
1. Breathing warm-up
2. Vocal exercises
3. Work on vocalization.
III. Final part
DURING THE CLASSES
All vocal skills are closely interconnected, so work on them is carried out in parallel. Naturally, each vocal exercise has the goal of developing some specific skills, but when performing it it is impossible to ignore the others. This is the main difficulty for a little singer - to learn that in order to achieve a sustainable result, it is necessary to use absolutely all the knowledge, skills and abilities acquired in classes.
At the initial stage, it is necessary to cultivate these skills in their elementary form, without achieving the subtleties of this or that technique. In the future, there is a constant consolidation, development and improvement of singing skills, in-depth work on the culture and correctness of sound, the beauty of timbre, subtle and varied nuances on more complex musical material.
You need to work gradually, without haste.
Under no circumstances should forced sound be allowed.
You should sing at a moderate sound (neither loud nor quiet).
The greatest attention should be paid to sound quality and freedom when singing.
It is of great importance to work on the evenness of sound strength (on one, on different sounds, on a whole phrase). It is advisable to carry out this work in an even more limited range.
It is necessary to equalize all sounds in terms of sound quality.
Systematic development of vocal techniques using special exercises leads to a valuable skill - “automatism” of their use. This principle consists of repeatedly performing the simplest operations, during which the vocal apparatus, as a self-regulating system, automatically finds the optimum, while simultaneously training the corresponding muscular systems. Skillful use of a differentiated age range, selection of repertoire in a convenient tessitura, and exclusion of forced sound ensure natural sound, harmonious development of voice-forming organs, and identification of the individual timbre of students.
Let's move on to the vocal exercises that I use in every lesson to prepare the vocal apparatus for work and develop basic singing skills. One of the most important features is the formation of the skill of “automatism” in performing exercises, so all of them are always sung in a certain sequence, in a certain range based on the child’s primary zone. After some time, even while singing a cappella, the children themselves begin to sing from their usual notes, which, of course, indicates that their auditory sensations are well formed.
II. Main part
1. Inhale through your nose, exhale through your mouth. Your shoulders should not rise, and your stomach should inflate like a balloon when you inhale, and stick to your back when you exhale.
2. 1 inhale through the nose, 2 exhales through the mouth. Your shoulders should not rise, and your stomach should inflate like a balloon when you inhale, and stick to your back when you exhale.
3. Hold your hand in front of your lips, palm up, parallel to the floor, fingers forward. Blow on your palm, exhale on the sound “s”, dosing the exhalation like on a candle.
4. The task is also only for the sound “z”. Make sure that the sound is even, so that there are no shocks or dips.
5. “Hedgehog”. Exercise for working the diaphragm. Children pronounce the sound "f" repeatedly, pushing each utterance with their stomach.
6. Closed mouth exercise, progressive movement. Watch the formation of a yawn, the sensation of a dome.
7. Formation of a high position of sound, roundness of the vowel, sharp intonation of the third tone, support breathing. Naturally, at the initial stage of training we focus on any specific point, but then we gradually add other tasks.
8. The next exercise is on the alignment of vowels and a unified manner of their execution. Watch for the roundness of the sound.
9. In this exercise you need to alternate staccato in the first bar and legato in the second bar. Staccato stroke, high sound position, precise intonation, vowel formation, range expansion.
10. The following exercise helps develop ease and fluency of voice.
Working on vocalization
III. Final part
Summing up (evaluating the effectiveness of the lesson). Homework.
Tasks:
1. To develop musical tastes and needs through the works performed.
2. To consolidate the skills of correct singing breathing, to give the concept of “diction”, to monitor the correct sound production and sound production.
3.Development of artistic abilities - ear for music, musical memory, emotional responsiveness to art.
Lesson plan:
I. Organizational moment.
II. Breathing exercises.
III. Chanting exercises.
IV. Work on the work “If there were no schools” by muses. V. Shainsky
V. Physical education minute.
VI. Work on the work “Childhood” by muses. E. Filippova, lyrics. V. Stepanova
VII. Lesson summary.
During the classes
I. Organizing time.
The teacher welcomes the children and prepares them for the learning process.
II. Breathing exercises.
During breathing exercises, students stand in a free position without interfering with each other.
a) Lightly bite the tip of the tongue with your teeth
c) Bite the tongue alternately with the right and left lateral teeth, as if chewing his.
d) They rest their tongue on the upper lip, lower lip, right cheek, left cheek.
e) Click their tongue, changing the shape of the mouth in a smile and stretching the lips into a tube.
Exercises to develop proper breathing.
“Don’t blow out the candle” - children put their hands on their belts, take a calm breath without raising their shoulders, slowly exhale air silently as long as possible and sparingly so that the candle does not go out, mentally imagining that it is burning in front of them.
Task 1. “Pull the thread” - take a deep breath, then hold your breath and exhale slowly while playing the sound “s”.
Task 2. “Holding your breath” - silently count to 5 while inhaling, hold for the same count, and slowly exhale for this count. The exercise is repeated several times, increasing the count.
Task 3. “Kitty” - taking a step to the side, you need to inhale, pulling in the other leg and performing a half-squat, exhaling air. At this time, the arms are bent, the fingers are spread out, exhaling air and clenching the fingers into a fist. The exercise is performed several times. Make sure that your inhalation and exhalation are sharp.
Task 4. “Pump” - feet shoulder-width apart, hands in a “lock.” A deep breath is taken, sharp downward movements are made with the hands, and at this time the air is exhaled in portions, to the sound “s”.
III.Chanting.
1. Standing with their hands on their belts, all the choristers, following the conductor’s hand, take a slow breath through their nose, making sure that their shoulders do not rise, but that their lower ribs expand. Exhaling air sparingly on the syllable “lu” (up semitones to the sound “si” of the first octave).
2. The syllables “bra”, “bre”, “bri”, “bro”, “bru” are performed on one sound. You should follow a uniform manner of execution, simultaneous beginning and ending. The consonants should be voiced “r-r” - rolling and exaggerated, the vowels should be sung correctly forming sound production (up to the “C” note of the first octave).
3. This exercise “zi-i, zo-o, zi-i, zo-o, zi” is performed in one breath. You should watch for soft and clear transitions from one syllable to another (by semitones up to “si” of the first octave) .
4. The next exercise is on fine articulation technique. Performed at the tempo “le-li-ly-li-lyom”. Make sure your intonation is clean. You shouldn’t open your mouth wide, it feels like “we push off from the first note and climb up.”
IV“If there were no schools” music by V. Shainsky.
Performance of the piece, repetition and consolidation of skills. The work is performed at a fast pace, so it would be advisable to ask the choristers to recite the text in the rhythm of the work. It is necessary to focus on the clear pronunciation of the endings of words, on their exaggerated pronunciation.
During performance, you should pay attention to the active work of the articulatory apparatus, but you should not open your mouth wide, because the speed of execution is lost. After the performance, the nature and content of the text is discussed, and conclusions are drawn about the performance.
V. Physical education minute.
Training. Pump and ball: One of the choir members is a pump, the others are balls. The balls stand “deflated” with a limp body, the body is tilted, the arms hang freely. The pump pumps air, inflating the balls. The balls are inflated and then the “plug” is removed and the balls are deflated again.
Muscle relaxation exercise.
VI. "Childhood" of music. E. Filippova, lyrics. V. Stepanova
When performing a finished song, choristers must remember, first of all, the emotional state of the work. Before the performance, the conductor makes instructions about paying attention to the conductor, correct seating, breathing, and correct sound production.
Ensemble work is carried out between the accompanying instrument and the choir. The accompaniment is listened to as a whole, the features are analyzed (whether it expresses the general mood, whether it supports the vocal part, the rhythmic pattern) based on this, the manner of performance is chosen.
VII. Lesson summary.
The teacher sums up. Evaluates students. Assigns homework.
Development of an open lesson on the subject of choir with students in grades 1-7 (groups 1-2)
Topic: “Working on singing breathing in the choir.”
Teacher: Utegenov Marat Sergeevich
Concertmaster: Andreeva S.N.
year 2013
Development of an open lesson on the subject of choir
with students in grades 1-7 (groups 1-2)
Teacher- Utegenov M.S.
TOPIC: “Working on singing breathing in the choir.”
Target: To instill in children's choir students the skills to breathe correctly while singing.
Tasks:
Educational. Introduce students to the process of singing breathing in class. Give an idea of proper breathing singing. Teach the basic techniques of how the vocal cords work when inhaling and exhaling.
Developmental. Enrichment and assimilation of rhythmic and melodic tongue twisters, rich in the most difficult consonant sounds to pronounce. Development of skills to analyze and compare correct performance in the choir.
Educational. Fostering a sense of patriotism and love for one’s homeland. Nurturing the moral qualities of students and forming a comprehensively developed personality.
Forms of organizing classes: Groups, pairs.
Didactic support for the lesson: TSO.
Plan:
Vst. word
Chants, exercises
Work on the repertoire of choral parts
Lesson summary
Self-analysis of an open lesson
Progress of the lesson.
1. Organizational moment.
Chanting: Vocal and choral exercises occupy a large place in the system of choral work with children.
The purpose of the preliminary exercises is to prepare the vocal apparatus, i.e. warming up the child’s vocal cords for learning and performing choral works. In the process of chanting, a corresponding emotional attunement of the singers occurs, and their gradual inclusion in the choral work. The systematic and targeted use of exercises very well contributes to the strengthening and development of the voice, improving its flexibility and endurance. 10 - 15 minutes are allotted for chanting.
Exercise:
Breathing is a soft attack of sound. First, inhale, then hold your breath and inhale should be active, but calm (for example: as if smelling flowers). Exhalation should be smooth and long;
Diction, articulation – correct formation of vowels. Consonants when singing should be pronounced as briefly as possible. Vowels should sound full and wide (for example: vowels are a river, and consonants are the banks). Active work of all organs in the oral cavity. The tongue should move freely when singing;
An exercise to expand the range (using mainly the primary sound zone from “D” of the 1st octave to “D” of the 2nd octave).
2. The mechanism of singing breathing.
The human body continuously undergoes processes necessary for its functioning. The work performed by human organs - the heart, nervous system, muscles - requires nutrition. The product of such nutrition is primarily oxygen, which a person receives from the air around him.
The process of absorbing oxygen and releasing carbon dioxide occurs constantly. “A person begins life with his first breath and ends with his last breath.”
Popevki:“Savka and Grishka made a pipe!”, “You are a cuckoo, where have you been…”, “Chick-chirik...”, “Kobelek”.
The breathing process when singing. The air taken in during inhalation is condensed under the closed ligaments. Air pressure separates the ligaments, some of the air escapes, and they close again. The closure of the ligaments again causes an increase in pressure in the trachea and bronchi, and a new attack of air occurs that opens the ligaments.
Exercises: For consonants “S, Ch, K, G, F, X”; and on the alternating syllables “ma-me-mi-mo-mu” the inhalation is made more calmly and fully. When expending your breath, you need to ensure that the expenditure of air is uniform and on all syllables. The articulation of syllables should be easy and active. (5 minutes)
3.Work on the song " Kazakhstan-kyran dalam»
First, children are invited to listen to a song performed by a teacher. To help children learn the melody, it should be performed at a slow tempo, without accompaniment, then asked to sing on the syllable “la-la”, “ku-ku”, achieving a light, bright sound in the performance.
Teach children to sing, conveying the cheerful, joyful nature of the song. Pay attention to the vowel “u” in the word “kuanam” and the consonant “r” “tandarymen”. Vowels “ұ” “munaysan” 2nd low “D2 flat”, “Munayam”, which needs to be pronounced longer. Enter in a timely manner after the musical introduction. Cleanly intonate the jump-like movement of the melody - up an octave (do1 - do2) and a perfect fourth down-up (si - fa - si), etc.
(10-15 minutes)
4. Repeat and reinforce the song “I’m learning English”
Work on the character of the work. Pronounce the lyrics meaningfully and expressively:
Attention
Breath
The beginning and end of singing.
Be able to merge into pure unison, listen to yourself when singing, as well as the entire choir, merging in the overall sound with the instrument and not standing out. (10 minutes)
Lesson summary: We learned to breathe correctly and pronounce words clearly. Due to tongue twisters and singing. Thank you all for your attention!
Self-analysis of an open lesson
Open lesson on the topic “Working on singing breathing in the choir”
I consider the choice of this topic relevant because... so that students understand the process of singing breathing.
In accordance with the stated topic, the goal was set: “To instill the skills of children’s choir students to breathe correctly while singing.” This problem was solved through the following tasks:
Educational:
Introduce students to the process of singing breathing in class.
Give an idea of proper breathing singing. Teach the basic techniques of how the vocal cords work when inhaling and exhaling.
Developmental:
Enrichment and assimilation of rhythmic and melodic tongue twisters, rich in the most difficult consonant sounds to pronounce. Development of skills to analyze and compare correct performance in the choir.
Educational:
Fostering a sense of patriotism and love for one’s homeland. Nurturing the moral qualities of students and forming a comprehensively developed personality.
The following teaching methods were used:
Method of updating previous knowledge (making previous knowledge relevant at the moment).
There was a constant change in types of activities, which made it possible to make the lesson more voluminous, productive and constantly retain the attention of students.
The goals and objectives of the lesson have been achieved.