Step 3 Exam Name* First Last Email* HOW YOUR VOICE WORKSTHE LARYNX1. The larynx, along with the vocal folds, is part of the ____ system.* resonation respiration phonation 2. The larynx is moveable and is affected by the action of the _____ muscles of the neck surrounding it. When we swallow, the larynx is pulled upward by those extrinsic muscles. When we sing, those muscles should not engage; the larynx should be comfortably ____ .* Infrahyoid, high or low extrinsic swallowing, neutral and relaxed digastric strap, imposed and low 3. The larynx is made of ____, which is harder than muscle tissue, but more flexible than bone.* muscle cartilage ligament 4. The epiglottis guards the entrance of the _____, the opening between the vocal folds. During swallowing the epiglottis folds down to a horizontal position and prevents food from going into the ____, directing it instead to the ____.* throat, windpipe, trachea pharynx, esophagus, stomach glottis, trachea, esophagus 5. The thyroid cartilage serves to protect the _____, which are suspended over the trachea and attached to the ____ cartilages at the back of the larynx. When the ____ muscles contract they draw the thyroid and cricoid cartilages toward each other, lengthening and tensing the vocal folds.* throat, arytenoid, cricoid pharynx, cricoid, thyroid vocal folds, arytenoid, cricothyroid 6. The cricoid cartilage surrounds the _____, providing an attachment point for various muscles, cartilages, and ligaments.* trachea esophagus pharynx 7. The arytenoid cartilages are mounted on the cricoid cartilage and attached to the back end of the vocal folds; they approximate, gliding and rotating due to the contraction of the ____ and ____ muscles.* TA (thyroarytenoid) and CT (cricothyroid) IA (interarytenoid) and TA (thryroarytenoid) lateral cricoarytenoid (LCA) and interarytenoid (IA) 8. The muscles of the larynx are named after the ____ they are connected to. The name indicates the locations where the muscle ____ and _____.* bones; starts and ends cartilages; originates and terminates ligaments; terminates and originates 9. Muscles that attach the larynx to something outside of itself are called ____ muscles. These muscles are responsible for raising and lowering the _____ during swallowing and can interfere with free vocalization.* outer, tongue extrinsic, larynx intrinsic, hyoid bone 10. The ____ muscles are attached outside the larynx, The elevator ____ muscles raise the larynx and the depressor _____ muscles lower it.* digastric, mylohyoid, suprahyoid infrahyoid,mylohyoid, digastric extrinsic strap, suprahyoid, infrahyoid 11. The ____ and digastric strap muscles under the chin are elevator muscles involved in swallowing and can interfere with good vocal production if tensed during singing. Check under the chin for _____ in these muscles by pushing the thumb upward just behind the chin bone while singing.* mylohyoid, tension digastric, pressure elevator, engagement 12. Engaging the ____ muscles while singing impedes the free functioning of the voice.* extrinsic swallowing both of the above 13. It is vital that the larynx is not allowed to ______ as the pitch ascends, for good registration, ____ and _____.* rise; blending, and timbre hike, register connection, tone quality both of the above 14. Maintaining a stable laryngeal position allows the intrinsic muscles to adjust more easily for pitch, and produces a more consistent timbre throughout the singer's range. If the larynx is allowed to change position with each new pitch, the vocal quality will be _______.* strident inconsistent weak 15. The optimal position of the larynx while singing is neutral- relaxed and comfortably _____. This is the position it naturally assumes when we take a deep _____.* low, breath hooty, exhale relaxed, inhalation 1 and 3 16. The larynx should not be allowed to ____ when singing high pitches; nor should it be ___ excessively when singing low notes.* elevate, imposed push down, hiked remain stable, tightened 17. In remedial exercises, we may use ______and_______ exercises that require a higher or lower laryngeal position than we ultimately want to counteract incorrect muscle activation. These temporary exercises should be discarded as soon as better coordination has been achieved.* strange and wonderful weird and impermanent temporary and extreme 18. When we do ‘dumb,’ ‘dopey’ or ‘hooty’ exercises by imposing the larynx, we are activating the _____. ______ muscles. This counteracts the tendency to hike the larynx with the suprahyoid elevator muscles.* elevator strap infrahyoid depressor extrinsic swallowing 19. When we do ‘witchy’ ‘bratty’ or Voce di Strega (voice of the witch) exercises we are creating better _____, but with a higher laryngeal position.* vocal fold adduction squillo and brilliance strong high harmonics all of the above 20. These are ______ exercises that are discontinued once the desired coordination is achieved.* temporary challenging formative 21. The Unbalanced/Pulled Lower vocal category is produced when ___ muscle activity does not decrease sufficiently in the primo passaggio. Excessive ____ and hyperfunction of the vocal folds are required to sing higher pitches.* LCA, loud strong phonation IA, suproglottal air pressure TA: subglottal air pressure 22. In step Three, our focus is on the Upper Register, the area of pitches above the primo passaggio or first _______. In Upper Register phonation, the vocal folds are longer, thinner, and tauter. During vocal fold vibration, the vocal folds meet ______ on the depth of the fold.* transition, lower bridge, higher turn over, stronger 23. Vibrational Modes: a vibrational mode refers to the ____ of the fold during vibration created by the balance of TA and CT activity.* shape contact both of the above 24. In the lower register, fold adduction begins at the ____ of the folds and the folds are _____ in shape.* middle, divergent top, convergent bottom, square 25. In the lower register there is a vertical phase difference, which is a difference between the ____ of the lower and upper part of the fold, creating a more complex waveform with strong _____.* vibration, energy opening, formants closing, harmonics 26. In the upper register, the vibrational wave starts ____ on the depth fold.* midrange lower higher 27. In the upper register, the balance of muscular activity shifts to the CT(cricothyroid) muscles and _____.* cricoid ligament arytenoid 28. In ______, only the cover or epithelium is in vibration. The folds do not adduct efficiently, closed quotient is inefficient and the sound is breathy and anemic due to insufficient ______ closure.* modal, vocal fold falsetto, glottal head voice, cord 29. The four vibrational modes are ___ (M0), ___ (M1), _____ (M2), and ____ (M3).* creak, upper, lower register, falsetto fry, modal, upper register, whistle chest, upper register, creak, flagolet 30. As pitch becomes higher in the upper register, the ______ takes more of the tension-bearing responsibility in vocal fold vibration.* ligament muscle mucosa 31. The four modes of the upper register for the contemporary singer are falsetto, head, ___ mix and ____ mix.* loud, soft edgy, deep fluty, brassy PHONATION SYSTEM RECAP32. As air is inhaled, the folds are ____ in a "V" opening toward the ____ . The vocal folds are attached just behind the ridge of the ___cartilage (Adam’s Apple).* adducted (closed) front, cricoid abducted (open), back, thyroid vibrating, center, Adams Apple 33. To initiate sound, the vocal folds are adducted or brought together at the posterior (back) of the "V" shaped glottis due to the contraction of the ____ muscles that approximate the arytenoid cartilages. As the cartilages glide toward one another and rotate or swivel, they bring the vocal folds to the midline. This creates ____ and closure of the glottis. Air travels upward to initiate vocal fold vibration.* thyroarytenoid (TA) and cricothyroid (CT), lateral compression cricothyroid (CT) and interarytenoid (IA) lateral cricoarytenoid (LCA) and interarytenoid (IA), medial compression 34. As the column of air travels upward, it meets and excites the adducted vocal folds, reaching the bottom of the folds first and creating a ___. When we are singing in the lower register or chest/modal vocal production, this process involves the entire mass of the fold. When singing in the upper register, this process starts higher up on the depth of the folds, so less vocal fold mass is used.* phonation wave vibrational wave subglottal wave 35.Air pressure decreases as the column of air exits, producing the _____, which again sucks the bottom of the folds closed and then progressively closes the folds in a wave-like pattern until the folds are again closed to the top of the fold.* Brentano Effect Vacuum Effect Bernoulli Effect 36. Vocal fold closure causes subglottal or subglottic ____ to build up.* resistance intensity air pressure 37. Vocal fold vibration converts aerodynamic energy to acoustic energy: including the fundamental ‘voiced sound,’ which resembles a soft buzz, and ____ which now must be filtered, selectively reinforced and enhanced in the vocal tract to become a musical sound or speech.* overtones partials both of the above 38. Inadequate fold closure can be a result of singing in falsetto with an aspirate onset, vocal fold swelling due to over-use and trauma, aberrations such as nodules, hemorrhages or polyps, or simply a result of a lack of vocal development, which can be corrected with _____.* technique practice both of the above 39. Everyone has ___vocal registers. The _____ register is known as chest voice, modal coordination, mechanism 1, or heavy coordination. The ______ register, also known as mechanism 2, can be falsetto, head, or mix, depending on the degree of TA/CT balance, vocal fold adduction, compression, closed quotient, and resonance choices.* three, chest, head two,lower, upper one, upper, lower 40. In the lower register or chest voice, the vocal folds are ______. There is more tension in the ____ of the folds, but the _____ is looser and vibrating more slowly. The lower register vibrates with more of the mass of the fold because the wave-like action of closing and opening begins lower on the fold. There is increased closed quotient and a firmer glottal closure. The ____ muscle is most active in the lower register.* shorter and thicker, body, mucosa, TA longer and thinner, mucosa, body, CT longer and thinner, mucosa, body adducted, midline, ligament 41. In the upper register or head voice, the vocal folds are longer, thinner, and tauter. There is greater tension on the folds and less vibrating mass, because the vibrational opening and closing begins higher on the folds. The cricothyroid (CT) muscle is more active, causing a tilting of the _____ cartilage in the front of the larynx. This brings the thyroid and cricoid cartilages closer together in front, but further apart in the back of the larynx. Because the vocal folds are attached behind the thyroid cartilage in front and to the ____ cartilages in the back of the larynx, they are lengthened by this thyroid tilt.* cricoid, arytenoid epilarynx, cricoid thyroid, arytenoid 42. In falsetto, there is a permanent oval _____ between the inner edges of the folds.* orifice opening both of the above 43. ____ allows us to see vocal fold vibration, but only from above.* proboscopy stroboscopy loboscopy 44. The larynx is made of _____cartilages. For singing, the important cartilages in singing are the epiglottis, the thyroid, cricoid, and arytenoid cartilages.* nine four five 45. The ______ lifts up during inhalation and closes over the trachea during swallowing to prevent food or liquid from entering the trachea.* epilarynx trachea epiglottis 46. The ____ cartilage is also known as the Adam’s Apple. The vocal folds are attached directly behind the front ridge of the thyroid cartilage. The thyroid cartilage tilts forward during upper register phonation, causing the vocal folds to _____.* cricoid, lengthen and loosen epiglottis, shorten and tense thyroid, lengthen and tense 47. The _____ cartilage is the ring under the thyroid cartilage.* thyroid cricoid arytenoid 48. The _____cartilages are two wedge-shaped cartilages at the back of the larynx. They glide toward one another and rotate or swivel, bringing the vocal folds together to initiate ___; they glide apart during ___ to separate the vocal folds.* arytenoid, phonation, inhalation arytenus, sound, breathing cricoid, singing, exhalation 49. The muscles of the larynx are divided into two categories; the ____ muscles in and around the larynx and the ___ muscles that raise the larynx when we swallow and may interfere with good vocal production.* singing, talking intrinsic, extrinsic extrinsic, intrinsic 50. The intrinsic muscles function within and directly around the larynx and affect ____. They are the thyroarytenoid (TA), cricothyroid (CT), and the muscles that bring the folds together via the arytenoid cartilages to initiate phonation- the lateral cricoarytenoid (LCA) and interarytenoid (IA).* vocal fold abduction and volume vocal fold adduction and pitch vocal fold approximation and amplitude 51. The _____ is the deep muscle tissue of the thyroarytenoid (TA) muscle. Together the vocalis and TA muscles tense and relax the vocal folds.* vocalis vocalic vocal 52. The muscles of the larynx are named after the _____ they originate and terminate with.* bone organs cartilages 53. The TA and CT muscles must be conditioned through vocal training to work in a ______ way to create a unified vocal quality throughout the singer’s range. This unified quality is created by the development of the mixed voice in the area beginning with the approach notes to the bridge and extending upward to the second or third ____.* isolated, passaggio antagonistic, gear shift coordinated, bridge 54. The mix is created by coordination of TA/ CT muscle activity, along with resonance choices that together create a _____that is different from either pure "chest" (yell) or pure "head" (whoop).* timbre voice production 55. The extrinsic muscles are outside the larynx and assist in swallowing. They can interfere with good vocal production if tensed during singing. The ____ raise the larynx and the ____ lower the larynx.* depressor strap muscles (infrahyoid), elevator strap muscles (suprahyoid) swallowing muscles, breathing muscles elevator strap muscles (suprahyoid), depressor strap muscles (infrahyoid) 56. Laryngeal stability can assist with smooth register transitions by maintaining a consistent _____. If the extrinsic swallowing muscles are engaged, the larynx will ____, destabilizing resonance activity and subsequently laryngeal activity. Smooth register transitions require a coordinated _____ from the TA muscle dominance to CT muscle dominance.* resonator, rise, handover throat, lock, interaction shape, lower, shift 57. ___ is created by the activation of the lateral cricoarytenoid (LCA) muscles and the interarytenoid muscles to close the glottis at the ___ of the larynx. Lateral compression is created when the vocal folds are stretched ____.* lateral compression, front, tauter medial compression, posterior, longer adduction, center, lengthwise 58. Vowels (from the Latin vocalis meaning “uttering voice”) are sounds in which the vocal tract is _____, the ____ don’t move, and the resonance frequencies are more _____.* engaged, folds, destabilized open, articulators, stable expanded, lips, strong 59. Vowels are formed mostly by various alterations of the shape of the ____, with help from the lips for the _____ vowels only- [u] (you), [o] (go), and [ʊ] (good). Aside from formation of rounded vowels, the lips should remain largely ______.* lips, front, rounded tongue, rounded, neutral pharynx, articulation, engaged 60. Vowels are categorized largely by the shape and position of the _____ (hump) of the tongue which divides the oral cavity into the ____ .* shape, larynx and pharynx formation, oropharynx and laryngopharynx constriction, mouth and pharynx 61. Closed vowels are formed with the constriction _____ and “close to” the teeth and hard palate. The more closed a vowel is, the more it tends to encourage _____ or lack of strain.* relaxed, woop high, release low, hold 62. Open vowels are formed when the tongue is positioned ____ in the mouth. The more open a vowel is, the more ___is encouraged.* forward, brilliance lower, hold higher, release 63. If your objective is to create more release from straining, vocalize on a ____ vowel such as [u]. If your objective is to create more hold, vocal fold adduction, or a “chestier” quality use an _____ vowel such as [æ] or [ɑ].* back, front closed, open high, low 64. Vowels are also defined by how far front to back in the mouth the tongue is positioned and are referred to as front, central or back, depending upon which portion of the ____ is used to create the vowel sound.* throat soft palate tongue 65. The front vowels tend to be associated with more _______ and edge, and the back vowels create more ______. This is due to the shifting balance of formants and harmonics. The back vowels usually also include lip _______.* brilliance, depth, rounding squillo, darkness, widening edge, height, protruding 66. When helping a singer find the upper register for the first time [u] and [i] vowels are very effective; that is why we have them sing WOO-EE! above the primo passaggio (first bridge) in Step Three to experience a ______ upper register.* developed free powerful HARMONICS67. Every element of sound has a vibrational ______, represented in ______(Hz).* number, amplitude pattern, cycles per second frequency, Hertz 68. ___ is a vibrational frequency; the A above middle C is called A-440 because it vibrates at 440 Hz.* volume pitch amplitude 69. The vocal folds rapidly open and close, converting ______ energy to _______ energy comprised of _______.* partials, aerodynamic, overtones subglottal, supraglottal, frequencies aerodynamic, acoustic, partials 70. F0, the _____ or ____ is also known as the ______ harmonic or H1.* formant, tone, primary harmonic, fundamental, original fundamental, pitch, first 71. Harmonics are _____ of the fundamental. For example, if the fundamental (F0, or the pitch) is 220, the next harmonic would occur at 440 (220 x 2), the next at 660 (220 x 3), the next at 880 (220 x 4), etc.* multiples offshoots relatives 72. Harmonics occur at decreasing intervals above the pitch, starting with the second harmonic at the _______, the third harmonic is a perfect ______ above that octave, the fourth harmonic a perfect ______ above that fifth.* fifth, fourth, third fourth, third, second octave, fifth, fourth 73. The vocal tract acts as a ______ where harmonics are either _____ or _______ (damped) depending on the size and shape of the resonators of the mouth and pharynx as we form vowels.* amplifier, prevented, boosted passageway, stopped, encouraged filter, boosted, attenuated 74. Harmonics provide the richness and ______ or tone quality of a musical sound- Higher harmonics provide ring and brilliance.* chiaroscuro energy timbre FORMANTS75. F1 is correlated inversely with tongue height; the _____ the tongue is, the more _____ the vowel is, and the ______ the F1 frequency is.* lower, open, higher higher, clear, lower higher, closed, lower 76. A high tongue produces a _____ vowel and lower F1 frequencies, effectively creating more ______.* clear, projection closed, release forward, power 77. Along with tongue height, tongue forwardness or retraction affects formants; moving the tongue forward ____ F2; retracting the tongue ____ F2.* lowers, raises raises, lowers prevents, encourages 78. Vowels made with the tongue further back in the mouth are called _____ vowels; these vowels have much lower F2 frequencies than the front vowels and are correspondingly less ______.* back, brilliant rounded, forceful hooty, powerful 79. Formants are vibrating pockets of ____ in the vocal tract. * resonances pressure air 80. _____ require two formants, F1 and F2, to be recognizable.* consonants vowels diphthongs 81. Higher F1 frequencies correlate to a _____ tongue.* lower higher relaxed 82. Higher F2 frequencies correlate to a ____ tongue and a _____ timbre.* backward, darker forward, brighter relaxed, smoother 83. F1 produces the depth or darkness in the tone known as ______ because it occurs in the larger chamber of the ______, which resonates at ______ frequencies. (A larger container resonates at lower frequencies).* dark, throat, lower oscuro, pharynx, lower both of the above 84. F2 produces the treble or brightness in the tone known as _____ because it occurs in the smaller chamber of the mouth, which resonates higher frequencies. The smaller the space in front of the tongue is, the brighter the sound will be. [i] has the smallest space in front of the tongue. (A smaller container resonates at _______ frequencies).* squillo, higher oscuro, lower hooty, intense 85. Laryngeal Elevation: F1 frequencies raise as the pharyngeal cavity size is ______; when the larynx lifts, the distance from the larynx to the tongue _____ decreases.* increased, flexion smaller, tip decreased, constriction 86. Mouth Widening: When the mouth cavity size is increased, (as the jaw is dropped) or lip aperture is increased (as with the wide, lateral “grin”), pharyngeal resonating space is comparatively ______, and F1 frequencies are _______.* higher, stronger decreased, higher increased, lower 87. Lip Rounding: Rounding the lips and pushing them forward increases the length of the _____ and decreases the opening, ______ F1 and F2, creating more ______.* tube, decreasing, release resonator, lowering, release both of the above TEACHING THE STEP88. OBJECTIVES OF STEP THREE: The student first experiences singing in the upper register without ______, then develops greater strength and power in _____ dominant upper register singing.* release, TA (thyroarytenoid muscle) strain, CT (cricothyroid muscle) force, CT (cricothyroid muscle) 89. The student learns the ____ vibrato in the upper register.* stronger advanced pulse 90. The student then begins to improve vocal fold _______ in the upper register.* strength adduction projection 91. To begin the process of learning to sing higher pitches the student must first experience singing high notes with ______. For the Unbalanced-Pulled Lower singer, this will be a new experience.* energy power release 92. Once release is achieved we then work on increasing vocal fold _______, closed _____ and subsequently, ____.* relaxation, glottis, phonation adduction, quotient, power approximation, cords, strength 93. When we sing from the lower register to the upper register the vocal folds transition from ______ (TA dominant) to ____ (CT dominant). Extrinsic muscle activation and tension impede this process.* M1, M2 lower register, upper register both of the above 94. To find a free upper register, a singer must ____ “just enough and not too much” as they transition through the first bridge or primo passaggio. We call this “_______ release.” Another way of thinking about this is that the TA (thyroarytenoid) muscle activity _______ as pitch ascends. If a singer lets go too much, a ____ or voice break occurs.* power, bonded, increases, falsetto release, connected, decreases, “flip” relax, connected, engages, break 95. When singing correctly in the upper register, the voice should be energized, clear, and strong, but not _______.* forced raspy breathy all of the above CATEGORY-BASED OBJECTIVES96. All categories usually need improved _______ in the upper register. In Step Three, our objective is to develop better _____ and _____ in the upper register.* projection, support, coordination power, release, energy strength, vocal fold adduction, closed quotient 97. All exercises occur _______the first bridge. Don't allow the student to _____ any of the exercises- make sure they perform all exercises in the "head voice" (M2, thin folds, CT-dominant phonation).* above, belt within, force below, strain 98. First in the order of priorities: Activation with ____ (Round One): Singing in the upper register without strain. This might mean the Unbalanced-Pulled Lower singer’s voice is breathy at first. The timbre is "hooty" or "whoop"- pure _______.* release, head adduction, upper strength, release 99. The larynx is ______. The jaw is _______. The lips do not move to a _______ grin on the [i] vowels. Say this over and over to the student: "Palm on the chin, with the thumb and finger on either side of the mouth".* low, dropped, lateral high, open, wide neutral, relaxed, vertical 100. Adduction (Round Two): Once the singer has experienced this new coordination, they must increase efficiency in ____ at the onset of tone for a stronger and clearer sound.* appoggio and support projection and energy vocal fold adduction 101. As in all things, we want “just enough but not too much” adduction and compression. If a singer over-compresses, the sound will be ____, with excessive air pressure. If the vocal folds do not adduct enough the result is _____.* strong and powerful, flow phonation squeezed and pressed, breathy and anemic released and relaxed, pressed phonation 102. Development (Round Three): In these advanced exercises, the objective is to develop greater strength in the upper register while maintaining a balance between ____ and the vocal folds.* the glottis appoggio air pressure 103. TEACHING TIPS: THE LARYNX- Step Three Exercises are performed with a slightly ______laryngeal position. Our first sound, the High Call “woo-ee” is sung with a slightly ____ larynx to counteract the common tendency of elevating the larynx by activating the ___ muscles when singing high notes.* high, relaxed, digastric low, imposed, swallowing relaxed, hooty, swallowing 104. TEACHING TIPS: THE TONGUE When we sing higher pitches, it is vital to be able to drop the jaw while maintaining a clear ____. When singers have a difficult time singing certain vowels (such as [i] (EE) on high pitches the problem is often that the tongue is not _____ of jaw movement.* tone, part phonation, connected vowel, independent 105. The TONGUE INDEPENDENCE exercise (moving from AH [ɑ] to EE [i]) will develop independence between the tongue and the jaw, allowing the tongue to be able to move freely to create any vowel sound needed independent of ___.* lip movement soft palate jaw position 106. The soft palate should lift slightly for the Step Three upper register exercises. The sound is that of the "whoop"- a ____ sound.* bratty hooty witchy 107. The more stable and neutral the ______ position is (by avoiding the wide grimace) the easier it is to maintain a consistently correct _______.* tongue, vowel jaw, quality mouth, tone 108. If it is breathy or raspy, there is an ____ between air pressure and the vocal folds. The key is BALANCE. As always “just enough and not too much” of everything- this means air pressure, vocal fold adduction, and volume.* connection increase imbalance 109. In Step Three we use _______ vowels to encourage free vocal production in the upper register. These vowels are formed with the _____ high and “close” to the upper teeth. In contrast, an open vowel gives us a "chestier" sound and is formed with a ______tongue position.* closed, tongue, lower open, soft palate, forward forward, jaw, backward 110. We always want the mouth opening to be _______, avoiding the tendency to _____ the lips for high notes. To achieve this mouth position, we say “Jaw down, corners in, neutral mouth.” rounded, purse flexible, hike neutral, spread PhoneThis field is for validation purposes and should be left unchanged. Δ You can be a Successful SLaS Teacher Table of Contents
