Step 4 Exam Name* First Last Email* HOW YOUR VOICE WORKS1. To review, ___ is the study of the body and ____ is the study of how the systems in the body function.* cytology, diagnosis morphology, biology anatomy, physiology 2. The system of the voice consists of three components: _____ (air, or energy source), ____(the vibrator or oscillator) and ____ (a filtering and selective reinforcement system).* exhalation, vibration, resonance respiration, phonation, resonation inhalation, vibrator, resonator 3. ____ for singing is produced by the lungs, trachea, diaphragm.* phonation resonation respiration 4. ____ occurs in the larynx, which houses the vocal folds. Air pressure causes the vocal folds to vibrate as air is moved out of the lungs by the coordinated action of the diaphragm, ribcage, and respiratory muscles. As the vocal folds rapidly open and close, they convert air or ____ energy to _____ energy.* resonation, acoustic, aerodynamic phonation, aerodynamic, acoustic vibration, acoustic, aerodynamic 5. ____ is the shaping of the vocal tract by various positions of the lips, lower jaw, tongue, velum or soft palate, pharyngeal walls, and larynx.* articulation diction pronunciation 6. The lips, teeth, tongue, soft palate, and hard palate are referred to as articulators because they ______ the sound, creating vowels and consonants.* form produce modify 7. The voice can be thought of as a ____ system; the source is the lungs that provide breath pressure to the vibrating vocal folds and the filter is the pharynx and mouth of the vocal tract where some frequencies or partials are boosted and others damped or attenuated, a process known as _____.* phonation-resonation, sonority source-filter, resonance vibration-oscillation, reverberation 8. Resonance happens in the _____- the cavities of the pharynx and mouth, where ____ are filtered and selectively boosted or attenuated (damped).* chest cavity, harmonics throat, formants vocal tract, partials 9. The pharynx is more commonly known as the throat. This is the first resonating chamber that an energized airwave encounters before traveling up to the oral cavity. The role of the pharynx is to _____ and selectively boost some partials and to dampen or _____ others.* produce, dampen increase, boost filter, attenuate 10. The size of this resonating tube can be altered by movements of the ____, which increases or decreases the tube length. This, in turn, alters formant and harmonic relationships. The pharynx takes up the area of about three to four inches above the _____.* jaw, larynx tongue, soft palate larynx, vocal folds 11. The larynx can assume a low, neutral, or high position, depending on the activity of _____ muscles. When the larynx is high, the extrinsic _____ (swallowing) muscles have engaged to pull the larynx up.* intrinsic, depressor extrinsic, elevator swallowing, strap 12. We counteract the Suprahyoid Elevator muscles’ hiking of the larynx by singing temporary _____ larynx sounds that we call “dopey,” “dumb,” “woofy,” that activate the ____ muscles.* depressor, mylohyoid hooty, elevator imposed, Infrahyoid depressor 13. For good singing, the larynx should be ____ (not rising along with ascending pitch) and _____.* stable, relaxed low, stable medium, neutral 14. The mouth is the second resonating chamber. The mouth contains an articulator that moves to form vowel shapes- the tongue. The _____ or hump of the tongue is responsible for dividing the mouth and pharynx.* tip back constriction 15. Just behind the top teeth is the immovable roof of the mouth, called the _____. Behind the hard palate is the soft palate or ____, which moves up and down.* medium palate, soft palate hard palate, velum soft palate, dingle 16. The moveable soft palate and tongue, along with the lips and jaw opening, form various vocal tract shapes. The soft palate ____ when we yawn and sing "hooty" sounds, and it ___ when we sing nasalized sounds.* rises, lowers lowers, rises, lowers, rises, lifts, dampens 17. The velum or soft palate is responsible for closing off the ____ during swallowing and phonation of non-nasal sounds via the ____.* soft palate, velum nasal cavity, soft palate nasal passages, velopharyngeal port 18. When the soft palate is high and the tongue and larynx are low, as when we sing a “dopey” sound, the pharynx resonator is larger and the resulting sound is darker. When the larynx is low or the lips are rounded, both F1 and F2 frequencies are _____ and the tone will have more depth or ____. Transitioning through the primo passaggio will be ____.* raised, squillo, possible lowered, oscuro, easier stable, darkness, enabled 19. When you inhale as if you are smelling a fragrant rose the soft palate assumes a slightly more ____ position that produces a ___ tone quality.* lowered, nasal stiffened, darker lifted, richer 20. Nasality is due to a ____ or lazy soft palate; air is channeled into the ____ cavities, creating nasalized vowels.* raised, mouth stiffened, throat lowered, nasal 21. _____ nasality, caused by a droopy, ____ soft palate allows air to move out through the nose.* hyper, lowered hypo, raised over, lazy 22. Hypernasal singers should counteract this tendency by imagining they are about to ____. This is known as the ____.* yawn, incipient yawn sing, potential sneeze sneeze, inevitable laugh 23. In ____ nasality, when we ____ the soft palate too much, there is a complete block of the velopharyngeal port, resulting in a stuffed-nose sound, like when we have a cold and all the nasal passages are blocked.* hypo, lower hypo, raise under, stiffen 24. To address hyponasality, phonate on an NG sound, then open up into [ae]: NNNNNNNGGGGGG[ae]. This will create ___ and a brighter, more ringing quality.* nasal resonance head resonance mask resonance 25. Twang does not depend on the nasal cavities, but on the narrowing of the _____, along with some narrowing of the pharynx (compared to classical singers).* pharynx throat epilarynx tube 26. The shape of the oral resonating cavity is determined by the position of the ___ in the mouth.* tongue soft palate velum 27. When singing sustained pitches, the tip of the tongue should rest _____, moving briefly to articulate consonants and returning quickly to the resting position.* behind the upper front teeth on the lower front teeth behind the lower front teeth 28. The back of the tongue should be relaxed; if it is tense, it will tend to draw the rest of the tongue _____ and down the throat, making good vowel definition impossible.* backward upward downward 29. When the tongue is flatter there is more resonating space in the ___. When the tongue is arched there is less space in front of the tongue and more space behind the tongue, in the ____.* throat, mouth mouth, pharynx larynx, throat 30. When the constriction or hump of the tongue is high, the vowels are called ____ because the tongue is close to the hard palate.* open front closed or close 31. A smaller resonating area produces a more brilliant sound because ___ frequencies resonate more effectively in a smaller container. A larger container, such as the pharynx, boosts ____ resonance frequencies more effectively and produces a deeper, darker sound known as oscuro.* lower, higher moderate, excessive higher, lower 32. The tongue is entirely responsible for vowel formation on all vowels except the ____ vowels; [u] (as in goo), [ʊ] (as in good), and [o] (as in go) require the ___ to be in a rounded position.* back, lips front, tongue back rounded, lips 34. Tongue tension often accompanies vibrato issues such as the _____, an excessively slow oscillation rate, or the ____, a fast bleating sheep-like sound. Tongue tension prevents a smooth register ____ from occurring, creating a greater tendency toward breaks in the voice.* wobble, tremolo, transition tremolo, wobble, passaggio pulse, flutter, bridge 35. The syllable "y[i]" requires a _____ and more _______ tongue, counteracting the tendency to _____ the tongue.* lower, back, thrust relaxed, forward, tighten higher, forward, retract 36. When singers have difficulty singing certain vowels such as [i], for example, on high pitches, the problem is often that the ___ is not independent of the action of the ___.* tongue, jaw vowel, tongue vowel, tongue 37. ____ the tongue is important to do every day to relieve tension.* stretching fronting rolling 38. Vocologists are ___ in their approach to teaching singing.* exploratory science-based reliable 39. Vocal ____ has historically embraced both scientific and non-scientific approaches to teaching singing.* therapy study pedagogy 40. In vocal pedagogy, the concept of resonance has come to have many meanings, some science-based and some _____ based.* perception vibration resonance 41. Sympathetic (free) Resonance: Sympathetic resonance occurs when there is no physical ____ between two bodies but the second resonator responds “sympathetically” to vibrations received through the air from the first.* proximity junction contact 42. Conductive Resonance: Conductive resonance occurs when the resonator has ____ with the vibrating body.* connection contact proximity 43. When sound waves are introduced into a chamber or tube, the structure will tend to ____ some frequencies while ____ or damping other frequencies selectively as a function of the shape, size and composition of the walls of the chamber, and shape of the container opening.* expansion, lowering hike, depressing boost, attenuating 44. Larger containers boost _____ frequencies; smaller containers boost ____ frequencies.* lower, higher higher, lower loud, soft 45. The pharynx is a fairly soft cylindrical resonator that can assume various lengths depending upon the positioning of the ____. The oral cavity or mouth is a combination of soft and harder areas and assumes different shapes depending on the positioning of the ___.* larynx, tongue and jaw tongue, soft palate jaw, soft palate 46. When two or more resonators are joined together, the resonators ____ one another. The ____ function in this manner, each potentially affecting to some degree the resonance of the other.* influence, throat and mouth affect, pharynx and mouth both of the above 47. Resonance in singing can also be described as the process of turning ____ energy into ___ energy as air rising from the vocal folds containing various frequencies passes through the pharynx and mouth and is filtered.* acoustic, aerodynamic aerodynamic, acoustic partials, sound 48. A vibrational wave occurs in the vocal folds as air causes the folds to rapidly open and close, converting air into frequencies known as partials. Some of these partials are reinforced or boosted in the pharynx and mouth cavities and others are attenuated or damped through a process of ____.* filtering refining distilling 49. The fundamental frequency (F0) is perceived by the listener as the sung or played ____.* tone timbre pitch 50. But our ears are not only hearing the fundamental; they are also hearing multitudes of other frequencies generated along with the pitch. These are known as ____.* tone coloring overtones timbre 51. ____ are partials or overtones whose frequencies are multiples of the fundamental frequency; these are interpreted as musical sounds by our ear. The relative strength of various harmonics provides tone color or timbre. * harmonics overtones partials 52. The terms "resonance" and "register" are sometimes confused. Registration refers primarily to ____ .* vocal fold shape vocal fold vibration both of the above 53. Resonance refers to the _____ of the basic voiced sound where certain ___ are boosted and others attenuated.* filtering, partials refining, fundamentals distilling, formants 54. Sensations experienced during singing have, over time, generated terminology that is misleading because it is based on ___ rather than science. Singers typically feel vibrations in the chest cavity while singing low notes and consequently refer to lower pitches as their “chest voice” or “chest register.” However, the voice is not resonating in the chest cavity; what they are feeling is known as sympathetic resonance as the ____ cavities of the chest vibrate in response to ____ pitches.* vibrations, smaller, higher feelings, smaller, lower subjective experience, larger, lower 55. True resonance (the filtering and boosting or attenuating of partials) occurs above the ____, in the pharynx (throat) and mouth.* larynx vocal folds jaw 57. The singer’s perception of resonance transfer and split resonance, though not scientifically accurate, can be tremendously helpful ___ in helping a singer feel what it is like to sing from their lowest to highest pitches without voice breaks.* imagery information perception 58. For sensation-based singers, concepts based on ____ experiences such as split resonance and resonance transfer can be helpful. This experiential, perception-based approach might be a good ___ to a science-based approach.* subjective, adjunct abstract, auxiliary unobjective, accessory 59. the ___ is a good exercise to help us learn to sing from the bottom of the voice to the top of the voice in one unbroken line.* glissando rise siren 60. ___ can also be described as tone color or resonance.* timbre tonality intonation 61. Vocal colors, resonance, and timbre are often used interchangeably in voice teaching. Timbre or tone color is created through a ___ process that boosts specific harmonics over others due to the size and shape of the resonators.* refining clarifying filtering 62. The concept of placement as traditionally taught relies on the singer’s subjective experience of ____ vibration. Placement is a description of where the singer feels ____ in the body.* perceived, resonance sympathetic, vibrations conductive, resonance 63. "Singing in the mask" (forward placement) is a sensation-based concept that relies on the experience of ___ occurring across the bridge of the nose and cheekbones, where you would wear a small mask when an open vowel is sung and the tongue is forward in the mouth, activating a higher ____formant frequency, which encourages brilliance.* resonance, second oscillation, first vibration, second 64. "Chiaroscuro" is a tenet of ______, the Italian classical vocal technique in which a brilliant sound (squillo) is coupled with a dark timbre (oscuro) providing depth or warmth. One of the elements of a beautiful tone is the balance between bright and dark _____.* bella donna, resonance bellaggio, colors bel canto, timbre 65. Depth of tone is known as ___. Ring or brilliance in the tone is ___. Put these two together, and you get squilloscuro or chiaroscuro- the balance of bright and dark resonance of the trained voice.* squillo, oscuro dark, bright oscuro, squillo 66. In voice pedagogy, the four basic vibrational modes are determined by the _____ of the fold during vibration and where the folds ____ during vibration.* shape, contact formation, approximate approximation, touch 67. The trained contemporary singer can produce four different modes in the upper register based on factors such as onset, vocal fold adduction, TA activity, closed quotient, and harmonics that create various ____ or tone colors. These modes are, from weakest to strongest: falsetto, head, fluty mix, and brassy mix.* resonance intonation timbres 68. In contemporary singing, falsetto is weak and breathy, with inefficient _____ and low ____; the folds are ___ due to an aspirate onset.* vibration, adduction, open resonance, tone qualtiy, approximated fold adduction, closed quotient, abducted 69. Head is the ____ sound of the classically trained soprano. It’s the first sound we use in Step Three- Activating and Developing the Upper Register- the WOO-EEE! A rounded mouth shape, easy onset, large pharyngeal space, ____ tongue, lifted soft palate, back rounded vowels like [u] encourage this sound.* hooty, relaxed heady, low "woop", high 70. Fluty Mix: The fluty mix requires moderate vocal fold adduction and has less intensity, edge, and brilliance than brassy mix. A ____ mouth shape, large pharyngeal space, high tongue, lifted ____, closed and back vowels encourage this sound.* neutral, tongue rounded, soft palate relaxed, velum 71. Brassy Mix: The brassy Mix requires some degree of TA muscles' bracing against the CT muscles, higher closed quotient, firm glottal onset, increased subglottal air pressure, front, ______ vowels, and a flatter tongue. The brassy mix is capable of imitating the timbre and power of the ____ quite convincingly. The brassy mix is powerful, edgy, and ringing. It has a natural quality resembling speech, blending seamlessly from the lower register to the upper register. This is the sound of contemporary pop, R & B, and country singers, along with musical theatre singers who want to sound like they are _______.* open, lower register, belting closed, upper register, projecting front, belt, powerful 72. Voce Vista software shows us the relative strength or weakness of ____. With Voce Vista, we can have a visual representation of things like timbre, ____, and vibrato.* overtones and formants, beginnings overtones and partials, phonation formants and harmonics, onsets TOOLS FOR TRAINING VOICESSCALES73. Scales, used in conjunction with vowels and consonants, have specific properties that will provide definitive ____. The objective is either to create more ____ (better vocal fold adduction) or more ____ (less strain) in vocal production.* conclusions, release, hold results, hold, release changes, phonation, adduction 74. In general, the result generated from a particular scale depends upon: 1. How expansive it is: Larger intervals and long scales encourage _____, a more effective hand-off from TA muscle dominance to CT muscle dominance, and encourages register blending. Shorter five-tone scales encourage ______, or more TA muscle activation. It is much harder to sing a stepwise ascending 5-tone scale through the first bridge than it is to sing a wider interval.* hold, release power, adduction release, hold hold, release 75. The result generated from a particular scale also depends upon starting pitch. If the objective is register balancing, you need to start the scale in a key that begins in the lower register and then travels ______ the first bridge or primo passaggio. Scales set in keys that access only the lower register will reinforce ____, (modal, lower register, thick folds) phonation.* above, TA-dominant below, CT-dominant up to, powerful 76. The result generated from a particular scale also depends upon what direction the scale travels. A scale that starts low and travels upward anchors the sound in the _____. Starting above the first bridge and traveling downward encourages ____ and blends a lighter coordination (i.e., less TA activity) downward.* upper register, hold TA dominant, adduction lower register, release 77. The result generated from a particular scale also depends upon how fast it is sung: The faster a scale is sung, the more ____ is encouraged. The slower you sing a scale, the more ___ is encouraged.* release, hold hold, release connection, projection 78. The result generated from a particular scale also depends upon the sounds used: The vowels, consonants, syllables or temporary sounds combined with the scale will create either more ____.* power or dynamics beauty or projection release or more hold 79. 5-Tone Ascending Scales This scale establishes the ____ register. It is very difficult to sing a 5-tone scale through the first bridge without ____. The 5-tone scale is used to assess and diagnose vocal categories, and to develop ____.* lower, flipping, power modal, falsetto, dynamics chest voice, let go, control 80. 5-Tone Descending Scales When used in the upper register, this scale is effective in blending downward through the ___. When used in the lower register, it extends the range downward.* first bridge primo passaggio both of the above 81. Isolators These exercises develop the ability to sing comfortably in TA-dominant lower register and CT-dominant upper register phonation ____ before attempting to blend or mix.* separately independently both of the above 82. Bottom-Up Scales Starting the scale in the lower register encourages increased vocal fold ____. These exercises should always start in the lower register with a firm _____; as the pitch ascends, the singer must release into the upper register while maintaining adequate vocal fold adduction; not flipping to a breathy falsetto. We call this _____.* adduction, glottal closure, connected release abduction, approximation, blending approximation, approach, mixing 83. Octave-Up Scales Repeater and Repeater with Sustain Scales: These bottom-up scales develop greater strength in the ____ register.* upper head both of the above 84. 1-5-3-8-5 Scales: This scale creates a better ____ between registers and develops vocal ____.* connection, training balance, flexibility transition, balance 85. 1.5 Long Scales: The octave and a half (1.5) scale develops a smooth ____ through the primo passaggio or first bridge with a ____ into the upper register and register _____.* progression, transition, transformation transition, connection, balance transformation, balance, connection 86. Stepwise Motion Scales: The most difficult to execute, these scales must be practiced to develop the skill to sing ____ with stepwise motion in the melody.* powerfully beautifully songs 87. Release Top Down Scales The top-down scales, when combined with semi-occluded phonation, aspirate consonants, a ____ larynx, and _____ vowels encourage release.* firm, back low, closed relaxed, open 88. Adduct Top-Down Scales Top-down scales, combined with ____ vowels, adducted onset, staccato, or _____ consonants create more vocal fold adduction (hold) in the upper register which is then blended downward to eliminate the break at the primo passaggio or first bridge.* front, glide back, aspirate open, voiced stop 89. Flexibility Scales These scales develop the vocal agility to execute runs, trills, and stylistic _____ singing for singers who want to riff and run. They are also important for singers of every genre and style to maintain vocal balance and the ___ of the voice.* melismatic, health flexible, power power, flexibility 90. Blues and Pentatonic Scales The blues and pentatonic scales develop the _______ necessary to execute runs, trills, and stylistic melismatic singing for gospel, R&B, and other contemporary riffs and runs. The pitches for the blues scale (when compared to the major scale) are 1, _____,4, #4, 5, b7, 8.* music history, 3 knowledge, lowered third ear training, b3 TEACHING THE STEP91. OBJECTIVES OF STEP 4 Further development of _____ lower register phonation and _____ upper register phonation separately, increasing the student’s ability to access the lower and upper registers at will.* TA-dominant, CT-dominant modal, thin folds both of the above OBJECTIVES BY VOCAL CATEGORY92. 1. All vocal categories need better vocal fold _______ in the upper register.* induction abduction adduction 93. 2. All vocal categories should sing with a slightly _____ larynx on the Round One exercises.* depressed imposed submerged 94. Undeveloped and Unbalanced- Light Lower category singers will tend to decrease _____ when singing from high to low. If the sound becomes breathy and weak, re-establish firm glottal closure with _____ exercises.* vocal fold adduction, adducted onset power, coup de glotte both of the above OBJECTIVES BY ROUND95. Round One- Beginning: Students will improve vocal fold adduction with _____ consonants and ____ sounds, and will improve register _____ by singing with equal strength in the lower and upper registers.* glide, depressed larynx, control plosive, neutral larynx, flexibility voiced-stop, imposed larynx, balance 96. Round Two- Intermediate: Students will improve vocal fold adduction and register balance with ____ exercises.* glide glissando slide 97. Round Three- Advanced: Students will improve vocal fold adduction and register balance with _____ exercises.* pulse vibrato both of the above 98. The voiced stop consonant “G” in the Go-Gee exercises encourages appropriate ____.* phonation vibration vocal fold adduction 99. It is essential to avoid laryngeal hiking caused by the engagement of the ____ muscles. The initial Step Four exercises are performed with a slightly ____ larynx to counteract the swallowing muscles that hike the larynx. Advanced exercises are performed with a ____ larynx position.* digastric strap, neutral, imposed mylohyoid, depressed, relaxed extrinsic suprahyoid elevator, imposed, neutral 100. Good singing requires a balanced ____, a balance between the ____, a balance between the vocal folds and the air pressure, resonance balance, and balance of the body with good alignment. In step Four we focus on creating equal _____ in the lower and upper registers.* phonation, resonance, projection resonance, registers, power onset, registers, strength 101. The jaw should lower in a relaxed fashion when singing ____ pitches. The student should place the palm of the hand on the ____, with thumb and finger on either side of the mouth.* stronger, throat lower, mouth higher, chin 102. The lips are involved in creating _____ vowels- the [u], [ʊ], and [o]. Vowels other than back rounded vowels are made mostly by positioning the ____. The mouth should remain ___, never widening to a grimace.* closed, mouth, relaxed back rounded, tongue, neutral front, jaw, pursed 103. Every ____ requires the tongue to assume a different position in the mouth, thus changing the shape of the resonator. The tongue is at its highest and most forward position in the mouth for the vowel _____ and lowers and flattens for the vowel ______. The tongue should be relaxed at all times. The tip of the tongue rests behind the lower front teeth on ____ pitches.* consonant, [ɑ], [u], all vowel, [i], [ɑ], sustained sound, [u], [i], sung 104. Sometimes people use completely different vocal qualities when speaking and singing. In contemporary singing, particularly in the lower register, vocal production is similar to ____ speech. A clear, projected vocal sound occurs when the vocal folds are _____ sufficiently to initiate tone. This is the balanced onset.* aggressive, vibrating dynamic, lengthened energetic, approximated 105. The Isolator exercises in Step Four are a necessary precursor to register connection and blending. They create a greater degree of development and coordination in the muscles of lower and upper registers in _____ before attempting to connect and mix registers. These exercises ensure that adequate development of TA dominant and CT dominant phonation occurs separately, creating a better foundation for the ____ exercises that follow.* segregation, more advanced isolation, connecting and mixing separation, more important 106. Make sure the student is fully in the ____ register on the low notes, with firm glottal closure at the onset of phonation, not bringing the head voice down too far. Make sure the student releases into the upper register for pitches above the primo passaggio. The sound should be clear, strong, and ____ in both registers, rather than breathy or weak.* modal, dynamic mixed, controlled lower, projected 107. Make sure the student places the palm of the hand on the chin, with the thumb and finger on the corners of the mouth at all times to prevent ____.* straining obscuring spreading 108. Remind student to expand the midsection, front, sides, and back, during inhalation, and to maintain outward firmness against the breathing belt as they sing. The is the ____.* 360-Degree Singers’ Breath appoggio both of the above 109. Use the “cry” and staccato with these exercises for increased ____.* release vocal fold adduction connection 110. Make sure the ___ is low and relaxed on both low and high pitches.* tongue larynx soft palate 111. The sound should be ____ on both low and high pitches.* released and projected balanced and unstrained clear and strong 112. The constriction or middle hump of the tongue should be high (against the top molars) for the [i] sounds. If the sound is muffled or the [i] is not correct, have the student do the ____ exercise in the mirror, increasing speed gradually.* tongue independence SOVT easy call 113. The tip of the tongue rests behind the ____ for sustained notes. Don’t let the tongue tighten and pull back down the throat on sustained pitches; watch in the mirror to see that there is no space between the tip of the tongue and the lower front teeth and that the ____ of the tongue is sufficiently high.* top front teeth, hump lower front teeth, constriction jaw, placement 114. Many students find it difficult to re-establish vocal _____ in the lower register when singing from high to low. Make sure a firm glottal closure is reestablished in the lower register after high pitches are sung.* fold vibration fold oscillation fold adduction 115. In the beginning, you will spend more of the lesson time on_____ until the student can mix. This means they can ____ pitch in the upper register without flipping to falsetto or straining and pulling the lower register too high. Ideally, once the student can mix you should spend 1/2- 3/4 of the lesson on exercises and the rest on songs. The more _____ is emphasized, the quicker the voice will improve.* sings, produce, songs explaining, sing, technique exercises, sustain, technique 116. When singing in the lower register, you can feel a vibration in the chest cavity, which disappears as you sing higher. This vibration is due to ____ resonance- the bones and cartilage of the large chest cavity vibrate in response to low tones.* sympathetic conductive vibrational 117. The terms “chest voice” and “head voice” came about because of the subjective experience of singers’ feeling vibrations in those cavities. The terms chest voice and head voice are inaccurate; more accurate terms are ____.* lower register and upper register modal and falsetto real voice and false voice CommentsThis field is for validation purposes and should be left unchanged. Δ You can be a Successful SLaS Teacher Table of Contents