Step 0 Exam Name* First Last Email* HOW YOUR VOICE WORKS- VOCAL REGISTERS1. Every human being is born with vocal registers. We all have a ________ register and an _________register.* bottom, top weak, strong lower, upper 2. In the lower register, the vocal folds are ____ and _____. * longer, stronger shorter, thinner shorter, thicker 3. In the upper register, the vocal folds are ______and _______ * shorter, thinner longer, tauter longer, looser 4. Every singer needs to learn to effectively transition between the registers at fairly specific pitch ranges known as ________.* crossovers, gear shifts passageways, transitions bridges, passaggi 5. Another challenge in singing is that of developing a consistent timbre or _____ _______ throughout the entire range.* tone quality tone spectrum color choice TOOLS FOR TRAINING VOICESThe SLaS Spiral Learning Chart and the Eight Steps of Vocal Development Chart6. We base instruction on the Spiral Learning model (repeating concepts many times, but at higher and higher ______ ________) and the motto that "focused repetition over time leads to good ______ _______ that lead to __________”* expectation levels, muscle memory, power skill levels, automatic habits, success understanding levels, strong singing, success 7. The Eight Steps of Vocal Development is a sequential ____ _______ program.* voice development vocal training skill building 8. In Step 0: Assessment and Diagnosis we determine the student's vocal category as compared to the optimally _________ singer.* developed advanced balanced 9. Some singers are too heavy in the lower register. This is the ______ _____ ______ category.* Unbalanced- Pulled Lower Unbalanced- Light Lower Unbalanced- Strained 10. Singers who are too light in the lower register are called ______ _______ _________ category.* breathy and weak anemic and breathy Unbalanced- Light Lower 11. Singers who are generally breathy and weak in both registers are the ___________ category.* Unbalanced Undeveloped Immature 12. Step 0 is called ________ and ___________.* breathing, supporting assessment, diagnosis listening, evaluation 13. The four things tested in step 0 are: _______, _____, __________, _______.* breathiness, adduction, projection, intonation lower register, upper register, transition, balance musicianship, projection, adduction, registration 14. Step One is called ________ ________ and __________.* breathing, posture, and stretching breath management and appoggio breath control and projection 15. Step Two is _______ and _______ the _______ Register.* project, improve, lower develop, project, upper activate, develop, lower 16. Step Three is _________ and _______ the _______ Register.* project, improve, upper develop, project, lower activate, develop, upper 17. The _______ or _______ muscle is most active in the lower register.* LCA, lateral cricoarytenoid CT, cricothyroid TA, thyroarytenoid 18. The _______ or _______ muscle is most active in the upper register.* LCA, lateral cricoarytenoid CT, cricothyroid TA, thyroarytenoid 19. In Step Four, _________, the object is to further develop the _______ and _______ registers.* developers, upper, lower developers, chest, head isolators, lower, upper 20. In Step 5, Register _______ with __________Sounds we connect the lower and upper registers and the student begins to _______.* transition, developmental, mix mixing, temporary, develop connection, temporary, mix 21. In Step 6, the Balanced _______, we address the manner in which phonation is __________.* phonation, started singing, produced onset, initiated 22. In Step 7, the objective is the development of advanced musical skills such as _________ (including messa di voce), flexibility, advanced _________, singing in stepwise motion, increasing ________, and singing _________.* dynamics, vibrato, power, songs power, dynamics, vibrato, songs power, vibrato, artistry, exercises 23. In Step 8: ______ we have fun learning basic to advanced contemporary riffs and runs.* interpretation melismas style 24. Rather than the typical voice lesson that consists of an ineffective ____ and then singing the song a few times with no specific goals for improvement, the instruction is based on specific lesson plans for vocal development with the objective of _____ _____ __________.* exercise, singing songs better warmup, sequential skill building rehearsal, becoming a star TEACHING THE STEPSTEP 0: ASSESSMENT AND DIAGNOSIS25. Assessment is the action or an instance of making a ______ about something.* evaluation judgement decision 26. Diagnosis is the art or act of identifying a condition from its ___ and _____.* signs, symptoms indications, evaluations problems, challenges 27. The first _____ or primo passaggio is where the singer's voice naturally wants to "turn over" or transition to the ______ ______.* bridge, upper register transition, head voice turnover, head voice 28. The assessment tools are _______ _______, ________ and a _______.* singing songs, history, scale spoken interaction, scales, song singing scales, talking, evaluation 29. A voice that is weightier in either the lower or the upper register is ________.* undeveloped unbalanced balanced 30. There are two types of Unbalanced:_____ Lower, _____ Lower.* undeveloped, breathy pulled, light pushed, pulled 31. If the singer strains and then experiences a voice break in the first bridge, transition, or primo passaggio they are probably in the Unbalanced-_____ _____ category.* light lower pulled lower heavy bottom 32. If the singer's voice is weak or breathy on the lower notes but increases in strength as they sang progressively higher pitches their category is Unbalanced-_____ ______.* light lower pulled lower light bottom 33. If the singer is breathy, anemic, and weak throughout the entire range the vocal category is _____________.* too light unbalanced undeveloped 34. The purpose of the GETTING TO KNOW YOU introductory session is to: 1. Meet with the student and get them _____about what we can do for them. 2. Give the student a professional ______ of their voice. 3. Give them a _____ _____ that will show them we can have an immediate effect on their voice. 4. Find out what the student is looking for and wants for their training, and assure them that we have what they want and we can help them achieve their ____ quickly! 5. Get them into the _____ IMMEDIATELY, if possible. 6. Make sure the student knows the _____.* pumped, opinion, good experience, dreams, program, plan impressed, judgement, beginning lesson, objective, mindset, reality excited, evaluation, mini-lesson, goals, schedule, policies 35. The Nine steps of the GTKY are: 1. Spoken _____ (Get their history and goals). 2. Assess and Diagnose with two ______and a song. 3. Explain, Convince, and Assure by demonstrations, a mini-lesson, and telling them the _____ for their vocal category. 4. ______ (Set up the Contract, Pay for remaining lessons in the month as Services, and Breathing Belt). 5. Scheduling (Mind Body _____). 6. Update their ______ in Mind-Body. 7. Give them the ______ with the SLaS notebook, breathing belt, and your business card. 8. Review the ____ and send the Template email to Zoom students. 9. Post lesson plans in Basecamp and let Support know the outcome of the GTKY by filling out the email ____. Replenish _____ .* interview, scales, objectives, payment, calendar, profile, welcome pack, policies, GTKY Report, welcome packs interaction, exercises, plan, admin, profile, calendar, information sheet, rules, feedback, assessment forms conversation, exercises, future, admin, calendar, information, welcome packet, policies, assessment, welcome packs 36. The notebook you give the in-person clients, and the email you send your Zoom clients after the GTKY includes the assessment sheet that you filled out, information they should read, the _____ ______that they should fill out daily, and a copy of the the _____ ______ .* practice journal, policy agreement further information, daily practice assessment sheet, eight steps 37. How often should you check your Mind-Body calendar and SLaS email? Why?* once per week so we don't get double bookings. check your email several times per day, and update your Mind Body calendar at the end of each teaching day so we don't get double bookings, so you know if you have a new GTKY, and so you can respond to any communication from a student, support, or Tricia immediately. whenever you get around to it, so we don't get double bookings. PhoneThis field is for validation purposes and should be left unchanged. Δ You can be a Successful SLaS Teacher Table of Contents
