Step 5 Exam Name* First Last Email* HOW YOUR VOICE WORKSREVIEW1. The vocal tract is the ____or filter of our three-part system* phonator vibrator resonator 2. The vocal tract is comprised of the ____. The nasal cavities are also part of the vocal tract but do not play a large role in resonation. Sensations felt in the nasal cavities and "mask" are a result of ____ vibration.* larynx and vocal folds, conductive pharynx and mouth, sympathetic tongue and jaw, percieved 3. Our vocal tract is a soft-walled _____, open at the mouth and closed at the larynx. It's called a "quarter-wave resonator" (the primary resonance or standing wave frequency is four times as long as the vocal tract).* resonator container tube 4. Air coming from the lungs creates a ___ in the vocal folds that begins from the bottom of the fold and travels to the top. The folds open and close rapidly, converting aerodynamic energy to acoustic energy. When you sing a middle C, this happens 256 times per second, also known as ____.* approximation, Hertz vibrational wave, Hertz adduction, cycles 5. When you are singing higher notes in your upper register, this vibratory pattern begins ____ on the vocal fold. The folds are lengthened, thinner, and tauter due to the cricothyroid muscles (CT) tilting the thyroid cartilage forward and down. Because the folds are attached to the _____ cartilages in the back of the larynx, when the thyroid tilts forward and down the folds are lengthened like rubber bands stretching. When this happens, there is less vocal fold vibrational _____ employed in the production of tone. Pitch is controlled by the ___ of the vocal folds- shorter folds=lower pitch. Longer folds=higher pitch.* lower, cricoid, mass, thickness lower, thyroid, patterns, depth higher, arytenoid, mass, length 6. Phonation can be viewed as a source-filter system. The energy or power source is the ___ providing air pressure, controlled by the muscles of respiration (appoggio). The sound source/oscillator/vibrator is the vibrating vocal folds. The filter/resonator is the _____ that selectively boosts or damps partials (harmonics) generated by the vibrating vocal folds. Stored energy in the vocal tract feeds back to the vocal folds and assists vibration through ______.* appoggio, chest cavity, vibration respiratory system, pharynx, phonation lungs, vocal tract, inertive reactance 7. The abdominal muscles and respiratory system increase _____.* power subglottal breath pressure the Bernouli Effect 8. Vocal fold vibration is initiated in response to airflow. The folds open and close rapidly, first resisting the air, causing air pressure to increase below the folds, then bursting open. This is called ____.* inertive reactance aerodynamic oscillation myo-elastic oscillation 9. Aerodynamic energy is converted to ____ energy or partials. Partials that are integer multiples of the fundamental frequency are called ____. Certain harmonics can be boosted or amplified by their proximity to a _____, a pocket of air in the vocal tract that vibrates at different pitches or frequencies depending on its size and shape of the container of air. Resonance in singing is basically how air contained in the vocal tract responds to certain frequencies.* acoustic, harmonics, formant supraglottal, formants, harmonic subglottal, partials, harmonics 10. When we sing a pitch, many frequencies are generated at the same time due to the complex ____ of the vocal folds. Some of these frequencies, the harmonics, closest to the vibrational frequency of the air in the vocal tract (otherwise known as formants) are _____ or become stronger by this proximity.* interactions, attenuated phonation, increased vibrations, boosted 11. There are two cavities in the vocal tract that function as resonators: 1. The ____(also called the throat) comprised of the laryngopharynx, the oropharynx, and the nasopharynx. 2. The ____, (which includes the tongue, soft palate, and lips).* pharynx, mouth throat, oral cavity both of the above 12. ____ are heard by the human ear as part of the spectrum of sound occurring along with the basic pitch. They provide the richness and ____ or tone quality of a musical sound, whether that sound is a voice or an instrument.* harmonics, timbre partials, depth overtones, oscuro 13. When the vocal folds open and close in the _____ they convert aerodynamic energy, or air, to acoustic energy or partials including the fundamental, or basic pitch, and other overtones. Frequencies are represented in Hertz (Hz) or _____. The partial known as the fundamental frequency (F0)is determined by the number of times the vocal folds open and close every ____.* oscillation pattern, frequencies, cycle opening and closing, frequencies, minute vibratory cycle, cycles per second, second 14. Harmonics are partials that occur at whole integer intervals above the frequency of the ____. When you change pitch, you also change the frequency of each of the _____ harmonics that are generated along with the fundamental frequency F0-H1. We could say that harmonics are generated by the ______ because as the folds lengthen or shorten, pitch changes. Each new pitch generates a new harmonic series above it. Faster vocal fold vibrations (ie- higher pitches) generate _______ harmonics.* pitch, generated, vocal tract, increasing harmonic, lower, vowel, lower fundamental, higher, vocal folds, higher 15. A firmer closure of the glottis at the onset of sound produces stronger____. On lower pitches, with firm glottal closure, the harmonics are strong and ____. On higher pitches, the harmonics are spread further apart because they are ____ of the fundamental frequency.* partials, far apart, integers timbres, far apart, relatives harmonics, close together, multiples 16. Harmonics are "fixed"- their frequency can't be altered, but they can be boosted in strength or power by being in proximity to the frequency of a ____. We cannot change the generated harmonic frequencies, but we can to some degree alter formants by changing the shape of a ____.* formant, resonator harmonic, container partial, chamber 17. Without the assistance of the ____, the fundamental pitch, F0, would be the loudest, and the higher harmonics would sequentially decrease in loudness. Each next higher harmonic would be softer than the preceding one. (That's called a "roll-off"). The decibel level of the harmonics decreases at about 12 dB for each successive _____.* vocal tract, harmonic resonating chambers, integer resonators, number 18. However, the vocal tract acts as a ___ where partials are either boosted or attenuated (damped) depending on the size and shape of the containers of the mouth and pharynx. The vocal tract can assume different shapes, altering _____ frequencies.* resonator, harmonic amplifier, pitch filter, formant 19. The harmonic frequencies change whenever the fundamental or _____ changes. When you sing the same vowel on successively higher pitches the harmonics _____ with the pitch. Harmonics are generated at fixed ______ above each pitch.* frequency, increase, numbers pitch, rise, intervals tone, lower, spaces 20. Resonance, in voice science, occurs in the _____ and refers to the relationships between harmonics and an elusive concept called formants.* chest cavity vocal tract resonators 21. There are many varied definitions of formants in singing. An easy-to-remember definition is "a formant is the pitch of the vibrating _____ in a _____.* frequencies, resonator hertz, tube air, container 22. The "containers" in singing are the ____ in the singer's vocal tract; theyhave preferred resonance frequencies based on their size, shape, density, and opening. These preferred frequencies are known as _____.* epilarynx and nasal cavities, hertz throat and pharynx, resonance mouth and pharynx, formants 23. Formants are the ranges of __ at which stronger ____ occurs-the frequencies the vocal tract responds to the most. Formants are pockets of air that vibrate at preferred frequencies determined by the _____ of each container and the size of the opening.* vibrations, boost, thickness frequencies, amplification, size and shape pitches, power, density 24. When a formant and a nearby harmonic synchronize due to the shape of the resonators as we sing vowels there is an increase in energy; this has traditionally been called ____.* synchronization projection resonance 25. The vocal tract produces many formants, but only the first five are discussed in singing. F1 and F2 create _______ definition. F3, F4, and F5 produce the phenomenon known as the ____, twang, or ring- the extra "edge" in a voice that allows it to be heard over loud accompaniments such as an orchestra or rock band.* resonance, edge vowel, singers' formant mix, ring 26. The frequency location of a formant is based on the length and shape of the tube known as our vocal tract. A longer tube means ____ formant frequencies will resonate there. A shorter tube means _____ formant frequencies will resonate there.* lower, higher higher, lower stronger, weaker 27. Formants for men, women, and children are different because of the difference in resonator ____; One rule to remember: Smaller spaces boost ____ frequencies; larger spaces boost ____ frequencies. So the size of the container determines the frequencies that will able to resonate there.* size, higher, lower shape, lower, higher depth, lower, higher 28. The first formant is the pitch of the air in the container that extends from the hump of the tongue to the vocal folds. This area is the _____. It is the _____ of the two containers. This larger container boosts the ______ frequencies.* mouth, smaller, higher throat, smaller, lower pharynx, larger, lower 29. The second formant is the pitch of the air in the container that extends from the hump (or constriction) of the tongue to the lips. This area is the ______. It is the _____ of the two containers. This container boosts the ____ frequencies.* throat, larger, higher pharynx, smaller, lower mouth, smaller, higher 30. The ________ divides these two containers of air.* tongue constriction middle hump of the tongue both of the above 31. Although they are always working together, in simplified model we could say that F1, the first formant, resonates most effectively in the larger space of the ___, which boosts the ____ frequencies most effectively. F2, the second formant, resonates in the comparatively smaller space of the ____, which more effectively boosts the ____ frequencies.* pharynx, lower; mouth, higher mouth, higher; pharynx, lower chest, lower; head, higher 32. F1, resonating in the pharynx, contributes to oscuro, or ____ in tone quality, rather like the bass EQ on a stereo. F2, resonating in the mouth, contributes to ____, or treble/brilliance in the sound, like the treble EQ on a stereo. * brightness, depth darkness/depth, squillo chiaroscuro, brilliance 33. The first two formants, F1 and F2, respond to changes in the shape of the vocal tract and are known as the ____ formants. Because we can change the shape of our ___, we can "tune" or adjust these vowel formants.* lower, resonators defining, throat vowel, vocal tract 34. F1 determines depth, roundness, warmth, fullness of timbre (oscuro), by strengthening the ____ harmonics. F1 is related to ____.* lower, laryngeal height higher, tongue forwardness lower, tongue flatness 35. High tongue=______ vowel=______ F1=more "release" (lack of strain) in singing.* closed, low open, high front, less 36. Low tongue=______ vowel=______ F1=more "hold" (power) in singing.* closed, low open, high front, release 37. Since ___ sizes vary, each person's first formant frequency when singing the same vowel will be different.* tongue pharynx head 38. The ____ is the "room divider" separating the pharynx and mouth resonators. As the tongue moves from a high to a low position (from closed to open vowels), the pharyngeal cavity ___in volume or space, and the mouth cavity (meaning the area in front of the tongue constriction) _____ in volume or space.* tongue, increases, decreases soft palate, decreases, decreases tongue, decreases, increases 39. F1 correlates inversely with _____; the higher the tongue is, the more _____ the vowel is, and the ______ the F1 frequency is because the pharyngeal container is comparatively ____.* tongue forwardness, open, higher, smaller tongue height, closed, lower, larger tongue backwardness, closed, higher, larger 40. The second formant, F2, (resonating in the "front room"- the mouth) is determined by how ____ the tongue is; moving the tongue forward ___ F2 and retracting the tongue lowers F2. F2 is like the treble knob on a stereo, affecting _____, or squillo.* high or low, lowers, darkness flat, raises, chiaroscuro forward or back, raises, brilliance 41. In a spectral analyzer such as Voce Vista, an increase in energy can be seen in some singers in the higher formants 3-5. This increase in energy occurs due to a narrowed epilaryngeal exit. These formants, boosting nearby harmonics, give some singers a ringing quality that allows them to be heard over loud accompaniments. In classical singing this is called the _____. In contemporary singing this energy boost is called ______.* edge, brilliance squillo, twang singer's formant, twang 42. As long as the pitch is low, the second harmonic is powerful because it is boosted by the first formant. This is the ____. However, when we singer higher pitches, the second harmonic loses power as the H2 frequency becomes higher than the frequency peak of the _____. chest voice or lower register, first formant modal voice, F1 both of the above 43. When singing ascending pitches untrained singers often try to hold on to power by raising F1 frequencies via raising the _____ and making the _____ smaller. This eventually turns into a _____ and ultimately produces a flip/crack/break.* tongue, mouth, shout larynx, pharynx, yell soft palate, resonator, flip 44. Registration or vocal registers can be defined as changes in vocal _____ across a singer’s range. When we _____, we attempt to equalize that timbre throughout the range, so there is no abrupt change in vocal quality anywhere in the range.* tone, project register, transition timbre, mix 45. Acoustic registration involves the relationship between _____, as compared to laryngeal registration, which relates to the balance of ____. Acoustic registration is how the vocal tract resonates ____ produced by the vocal folds. Acoustic registration can affect laryngeal registration.* pharynx and mouth, harmonics, formants lower and upper register, vocal folds and air pressure, formants formants and harmonics, TA and CT muscle activity, harmonics 46. A resonance strategy is making specific vowel and vocal tract choices to align ____ with nearby harmonics. Resonance strategies determine how well you transition through ____ and they determine timbre for style in singing.* formants, passaggi resonators, bridges vowels, transitions 47. In singing, we employ either a first formant resonance strategy or a second formant resonance strategy. This means that either the first formant or the second formant boost certain ____ close to their frequency vicinity. The specific harmonics that are boosted determine the _____or tone color of the resultant sound.* overtones, tone color partials, placement harmonics, timbre 48. If you loudly call out to your neighbor across the street “hey!”, you are employing a ____ resonance strategy. In this call-out mode, the first formant couples with the ____(F1/H2) to create a brassy, strong quality. This TA-dominant vocal fold posture creates _____ vocal folds that meet at the bottom, generating many strong higher harmonics. This is the sound of the ____ or chest voice, which contains many strong harmonics above the fundamental, or basic pitch.* second formant, first formant, divergent, upper register first formant, second harmonic, squared, lower register first harmonic, second formant, adducted, upper register 49. When the first formant (F1) couples with the first harmonic (H1), also known as the fundamental, or pitch, we get what Kenneth Bozeman calls the _____ timbre. In Step Three of the Eight Steps of Vocal Development, we use the F1/H1 resonance strategy with our WOO-EE exercises to develop the upper register (whoop). This sound is associated with _____ vocal folds and less vocal fold ____ (mode 2). This sound gives us fewer upper harmonics, and they are spaced more widely apart. This is the sound of the classical soprano. The resonator shape is ____- larger in the back and smaller in the front. We use the [u] and [i] vowels here because of their low ___ frequency.* whoop, lengthened, mass, convergent, F1 classical, adducted, mass, divergent, F2 twang, shortened, vibration, squared, F1 50. In the octave between approximately _____, pitches can be sung by both male and female singers using various permutations of TA-dominant lower register (modal register- short, thick folds) and CT-dominant upper register (longer/thinner folds) phonation. This area is known as the ____. The problem is there are so many ways to sing incorrectly in this area. We can pull chest, flip, or bring the upper register too low, to name just a few. All these incorrect methods of producing sound have one thing in common: they are not ____.* C4 and C5, overlap octave, balanced C3 and C4, middle voice, balanced G3 and G4, mixed register, correct 51. The passaggio (singular) or passaggi (plural), also known as the bridge(s), are areas of transition created by ____ changes that occur when we sing ascending or descending pitches.* timbre and compression registration and resonance muscular and resonance 52. Passaggi or bridges are relatively predictable, occurring at approximately a tritone (augmented fourth interval) to a perfect fifth apart. The most dramatic is the first bridge or primo passaggio, the least ____ section of the voice. This area presents a significant challenge to any singer because in this first transition the vocal folds are continuing to shift from a shorter and thicker ___muscle dominant condition to a longer and thinner ____ muscle/ligament dominant phonation. It is also the area where ____ activity decreases in favor of ____. This is the area where the second harmonic, H2 crosses the frequency of the first formant, F1. Once H2 loses its power by becoming higher than the frequency of F1, we have to find another effective ____ strategy.* important, CT-TA, F2-F1, belting stable,TA-CT,F1-F2, resonance valuable, LCA-IA, F1-F2, mixing 53. In the first bridge or primo passaggio area, many contemporary singers tend to hold on to modal or lower register TA-dominant phonation too long when singing ascending pitches. This creates vocal ____ as singers attempt to maintain the shorter and thicker vocal folds and F1/H2 resonance strategy of the lower register. F1/H2 tuning and short/thick vocal folds create the "yell" quality if carried above the first bridge. Eventually, there will be a significant break in the register as the voice flips into a breathy ____ after straining to reach pitches beyond the natural transition point of the primo passaggio.* strain, falsetto release, flip strain, falsetto 54. We must maintain even vocal fold compression and refrain from increasing air pressure as we sing higher to achieve ____, allowing the handoff from TA-dominant to CT- dominant phonation, along with F1-dominant to F2- dominant resonance strategy, by ____ “just enough and not too much” as we transition through the primo passaggio.* released connection, connecting connected release, releasing smooth gear shift, compressing 55. Contemporary female singers experience their first bridge at around ____. Most contemporary male singers begin the bridging process at______.* C5-D5, A3-Bb3 D5-E5, G3-Bb3 Ab4-Bb4, D4-Eb4 56. When we begin to enter the upper notes of the chest voice, it’s time to begin the process of decreasing _____ to ensure a smooth transition. Notes above this area are sung in the upper register, or vibrational mode 2, (longer, thinner folds) but with a ____ that resembles the lower register due to TA muscle bracing and harmonics.* TA activity, timbre CT activity, tone color LCA activity, twant 57. Here’s how the flip, crack, or break happens: when pitch ascends, if the F1/H2 coupling is continued higher than the ____ (this is called "tracking the harmonic") and the vocal folds are held static in the short/thick mode due to TA contraction, excessive _____ must be applied in order to raise the pitch. However, the CT muscles are also contracted, attempting to elongate the folds to raise the pitch the correct way. Eventually, the CT muscles prevail, and the TA muscles let go abruptly, so the larger part of the folds are no longer in vibration, the vocal folds suddenly elongate and ___ (come apart), and the tuning abruptly shifts from a powerful (but strained) yell-like quality (F1/H2) to a weak, breathy ____ (F1/H1).* primo passaggio, breath pressure, open, falsetto first bridge, air pressure, abduct, falsetto both of the above 58. Following a "flip", or break, vocal production is breathy, weak, and anemic. The vocal folds are ____ or apart and _____is very low. The singer has just experienced an embarrassing flip, or yodel, as the powerful F1/H2 ____ timbre abruptly changes to a ____-F1/H1.* abducted, closed quotient, yell, whoop adducted, open quotient, shout, whee unfocused, closure, scream, soprano 59. Flips are created by: 1. Pushing chest voice upward beyond the healthy transitional area of the _____. 2. Carrying the ____ vowel too high instead of modifying it to transition effectively through the bridge. 3. Opening the mouth too wide, grimacing with the lips, and raising the larynx, all in an effort to track _____ too high. 4. Increasing _____ excessively in an effort to raise the pitch. 5. Increasing vocal fold tension with the contraction of the TA muscles rather than allowing the lengthening and thinning process that occurs when the ____muscles tilt the thyroid cartilage forward. 6. Ineffective resonance strategy due to poor ______ choice.* primo passaggio, adducted, F2, breath pressure, TA, resonance chest voice, abducted, F1, lung pressure, TA, consonants first bridge, open, F1, air pressure, CT, vowel 60. The key to good vocal production is balance in all things. Imbalances that result in cracks, breaks, flips, and other vocal problems occur in the following ways: a) ____ imbalance (formants and harmonics): We affect resonance by altering the shape of the resonators of the mouth (including the lips and tongue) and pharynx. b) Coordination of the ____ muscles: These include the muscles that lengthen (CT) and shorten (TA) the vocal folds and those that adduct the vocal folds (the TA, IA and LCA muscles). The intrinsic IA and LCA must draw the folds toward the midline of the glottis for a firm onset; these muscles are often inefficient in untrained singers. c)____ air pressure vs vocal fold adduction. Flipping, cracks, and voice breaks occur most often in passaggi. The primo passaggio, first bridge, or first transition area is a series of notes with great vocal ____ resulting from changes in formant/ harmonic relationships and balance between the intrinsic TA and CT muscles.* registration, extrinsic, supraglottal, ineffecient resonance, intrinsic, subglottal, instability placement, swallowing, subglottal, cracking 61. Singers adjust or tune ___ as the pitches rise to keep the vocal tract aligned with the rising harmonic to avoid instability and to encourage the transition to a ___ dominant resonance strategy.* resonators, first formant tongue, upper register vowels, second formant 62. For the contemporary mix singer, when F1, which is resonating the second harmonic, (H2) reaches the pitch area of the natural primo passaggio or first bridge, then F2 (mouth resonator) should take over, resonating the third (H3), fourth (H4) and higher harmonics. In other words, there needs to be a ___ or transition at the first bridge. When ___ frequencies cross, there is the potential for destabilization (flips, cracks, breaks).* gear shift, pitch and resonance change over, overtone and harmonic hand-off, formant and harmonic 63. To transition smoothly from the lower register to the upper register there must be a ____ from TA-dominant to CT-dominant muscle activity.* let-go hand-off change-over 64. ___ for the contemporary singer, is a reinforced upper register created with a firm glottal closure and additional bracing by the TA muscles, the second formant boosting the third, fourth, and higher harmonics, and a certain amount of twang- acoustic energy in formants 3-5 occurring as a result of a narrowing of the ____.* blend, tube mix, epilarynx resonance, pharynx 65. The mix can be edgy, powerful, and ringing (______ mix) or it can be less robust in quality (______ mix).* powerful, dynamic edgy, soft brassy, fluty 66. The contemporary mix timbre is the result of the following: 1. A narrowing of the aryepiglottic sphincter to create ____- the ringing, edgy, brassy quality needed in contemporary singing. 2. ___ vocal quality. 3. Firm ____ closure (not breathy). 4. Cooperation between ____ muscles. 5. A resonance strategy that provides power and projection without excessive ____.* pharyngeal, pleasing, cord, intrinsic and extrinsic, force singer's formant, contemporary, cord, elevagtor and depressor, lung pressure twang, speech-like, glottal, TA and CT, breath pressure 67. SOVT (semi-occluded vocal tract) exercises are exercises made with a partial ____ or covering of the mouth opening. These exercises help us find mix.* prevention occlusion shut down 68. In mix, the bottom of the vocal fold is adducted _____. It is not dominated by TA contraction, and also not dominated by CT contraction* due to medial compression from the bottom of the fold halfway up the depth of the fold 69. SOVT exercises produce an inertance effect that helps the vocal folds in sustaining ____. Back-pressure is created in the vocal tract that spreads the vocal folds apart to avoid excessive ____and keeps the _____of vibration small.* vibration, collision, amplitude oscillation, hitting, depth resonation, adduction, height 70. Vocalizing with a more closed mouth and a semi-occluded vocal tract is beneficial in learning to mix because this method of vocalization creates a ____ of acoustic energy or power while preventing singers from ____the vocal folds as the pitch rises. The closed mouth helps the singer to transition from the first formant to the second formant.* feedback, over-adducting resurgance, over-compressing increase, hypo-adducting 71. Singers who are unskilled at transitioning between registers force the thick fold vibration of the lower register (TA muscle dominant or mode 1) upward for a few more pitches by increasing ____, raising the ____, and widening the mouth in an attempt to stay in the familiar “chest voice.” This "bad belt" resonance strategy is to raise _____frequencies higher to track the rising ___ (second harmonic) as pitch ascends, to avoid allowing H2 to become higher than the frequency range of F1 and thereby losing power. This is accomplished by engaging extrinsic muscles in hiking the larynx and by widening the mouth. Lifting the larynx and widening the mouth shortens the pharynx, raising F1 frequency, preventing H2 frequency from crossing higher than F1 frequency. This is known as "tracking the ___"* energy, tongue, H1, H2, partial lung capacity, soft palate, F2, H1, overtone air pressure, larynx, F1, H2, harmonic 72. "Bad" Belting implies excessively high ____ and ____ (the time the vocal folds remain closed in the cycle of open/closed), increased glottal resistance, and ___. Increased vocal fold tension is needed to resist the high breath pressure; this is known as ___. The vocal tract is constricted, and often the base of the tongue is tightened, putting pressure on the larynx.* glottal closure, volume, hyperfunction, pressed phonation breath pressure, closed quotient, pressed phonation, hyperfunction volume, projection, hypo function, pressed phonation 73. A singer who mixes will employ a different strategy from the belter in the area above the primo passaggio. Instead of continuing to resonate the second harmonic with the ____ as in belt, a mix singer uses a _____resonance strategy; the second formant now resonates the higher harmonics. Mix singers allow F1/H2 (chest voice-belt) to transition to F2/H3 or F2/H4 (mix), as the vocal folds lengthen due to the tilting of the thyroid cartilage. Instead of tracking ____ as it rises with F1, mixers track the higher H3 or H4 harmonic with F2, the second formant, avoiding the instability that occurs when a harmonic crosses over a formant.* second formant, first formant, H1 first formant, second formant, H2 first harmonic, second harmonic, H3 74. Chorally trained female singers often take the opposite approach from the belters; they bring the head register (F1/H1) too low. As a result, the vocal folds do not _____ firmly because there is inadequate activation of the _____ muscle, creating an inefficient and breathy sound in the lower register. Singing in the chest voice or lower register is only harmful if it is used to sing pitches above the _____. Singers who avoid the chest voice sound breathy, anemic, and weak on lower notes because the vocal folds are unable to properly adduct when the ____ is too low, and the TA muscles are not sufficiently engaged.* abduct, cricothyroid (CT), first bridge,harmonic approximate, thyroarytenoid (TA), primo passaggio, formant adduct, thyroarytenoid (TA), primo passaggio, harmonic 75. The AREAS OF THE VOICE are: ____ REGISTER: Women below C4; men below Bb3, _____ TO FIRST BRIDGE: Women Eb4-G4; Men B3-D4, _____MIX: Women Ab4- Db5: Men Eb4- Ab4, _____ MIX: Women D5-Ab5; Men A4-D5, ____: Women A5-E6, Men Eb5 and above, _____ (FLAGEOLET)Women and Men F6 and above.* CHEST, APPROACH, MIDDLE, UPPER, FALSETTO, WHISTLE MODAL, LOWER, UPPER, HIGHER, FALSETTO, WHISTLE LOWER, APPROACH, MIDDLE, UPPER, HEAD, WHISTLE 76. Timbre in the Upper Register can be ____.* strong or weak pleasing or annoying fluty or brassy TOOLS FOR TRAINING VOICESTHE TEMPORARY SOUNDS77. Once the lower register is activated and developed (Step ___), the upper register is activated and developed (Step ____), and the singer can toggle back and forth between lower and upper register without losing coordination (Step _____), they are now ready to begin to develop the mix and the ability to ____ between the registers with a smooth and imperceptible connection.* One, Two, Three, pass Zero, One, Two, connect Two, Three, Four, transition 78. It's very natural to want to hold on to the lower register as pitch ascends. Most people feel comfortable in this TA- dominant phonation because that is how most of us speak. However, if we hold on to a TA-dominant vocal fold coordination and the ____ coupling as pitch ascends, the tone begins to sound like yelling rather than singing. This happens as the larynx rises, creating a smaller pharyngeal resonator so that F1 frequencies can increase to "track" the rising second harmonic. (Remember, as pitch ascends the harmonics generated above the fundamental, or pitch, are going to become concurrently higher as well). This laryngeal lifting happens when the ____ muscles engage.* F1/H2, extrinsic modal, swallowing both of the above 79. At a certain point, the TA muscles abruptly let go, and the singer "flips" to suddenly lengthened and abducted vocal folds and the ___ "whoop" or even a disconnected falsetto. This is not the desired effect in contemporary singing. Instead, to transition smoothly, we need to keep the resonator "tube" in a _____ and consistent size and shape to decrease the potential for instability at the turnover point, or passaggio- the area where the second harmonic frequency becomes higher than the first formant frequency. Allowing the larynx to rise as pitch ascends creates the potential for ___.* F1/H2, neutral, flipping F1/H1, stable, instability head voice, low, cracking 80. The temporary sounds are used for the elimination of unwanted muscular activity caused by activation of the ____ muscles. These include the suprahyoid elevator strap, digastric, and mylohyoid _____ muscles that can tend to tighten and engage to try to “help” the sound, causing laryngeal lifting and pharyngeal squeezing. These temporary sounds will be eliminated as we progress through the program after new ____ have been established.* unwanted outer, breathing, habits suprahyoid, extrinsic, coordinations interfering extrinsic, swallowing, neuromuscular responses 81. Beginning in Step Six, once the new coordination has been established, we will eliminate the temporary extreme sounds like coup-de-glotte, vocal fry, excessive twang, Voce di Strega (witchy) or imposed larynx (hooty), slowly working toward more speech-like sounds where the larynx is neither imposed nor high- it is comfortably _____.* relaxed and unmoving low and imposed neutral and stable 82. The temporary sounds include: Semi-Occluded Vocal Tract (SOVT) Phonation (for ___ and balance): The lip roll or bubble and tongue trill are examples of semi-occluded sounds. The semi-occluded vocal tract (SOVT) sounds help singers find a better vocal fold vibration; they balance subglottic and supraglottic ____ to create optimal vocal fold vibration; they also promote healing in damaged vocal folds.* hold, resonance projection, lung pressure release, air pressure 83. For breathy singers, we use the temporary coup-de-glotte adducted onset to encourage ____ at the onset of phonation. This tool is very effective at counteracting the ____ onset* firm glottal closure, aspirate adduction, breathy both of the above 84. The pharyngeal witchy, bratty, Voce di Strega sounds are all examples of twang. These sounds are helpful in finding better ____ and in thinning and stretching the vocal folds to access the upper register while maintaining register connection.* vocal fold adduction glottal closure both of the above 85. The hooty, dumb, and dopey sounds will create a lowered or imposed larynx. The imposed larynx sounds counteract a singer’s tendency to use interfering muscles such as the _____ to hike the larynx.* elevator strap muscles swallowing muscles both of the above 86. The creak, vocal fry, and creaky MMM are "friendly compression" sounds. The friendly compression sounds allow the _____ of the folds to vibrate without the engagement of the entire mass of the vocal fold.* vibratory pattern adduction inner edges 87. A sung note becomes more intense by: 1. Increasing ____. 2. Increasing ____/decreasing open quotient. 3. A narrowing of the epilarynx (the tube between the true vocal folds and the false vocal folds) and a narrowing of the aryepiglottic sphincter. We achieve this not by squeezing muscles but by choosing a particular vowel and vocal quality. Narrowing the _____ funnel facilitates easier singing by ____ phonation threshold pressure through impedance matching of the glottal source and vocal tract.* breath pressure, closed quotient, epilarynx, decreasing projection, adduction, pharyngeal, increasing high harmonics, approximation, larynx, maintaining 88. IMPOSED LARYNX SOUNDS The extrinsic muscles are outside the larynx, holding the larynx in place and assisting with ____. The muscles above the hyoid bone that suspend the larynx from above are called the ____ muscles. When we swallow, the ____ muscles raise the larynx.* phonation, interhyoid, digastric breathing, infrahyoid, strap swallowing, suprahyoid, elevator 89. For the plethora of breathy students who, as Richard Miller puts it, “remain physically somewhat uninvolved during singing…breathiness and physical detachment characterize the vocal sound. It may then be wise to introduce the slight glottal attack so that excess ____ is eliminated”. However, any tool used to excess can become harmful, and this is no exception. Our motto is always “just ___, but not too ___!”* air, do it, loudly breath, enough, much strain, project, loudly 90. For less breathy voices the coup-de-glotte may not be necessary; ____ such as B, D, and G temporarily interrupt airflow and help the folds to adduct for a clean onset.* glide consonants voiced stop consonants aspirate consonants 91. For pressed phonation and over-compression, (Unbalanced- Pulled Lower) the coup-de-glotte is not applicable; to remedy these conditions the ___ consonants are more effective.* fricative voiced stop aspirate or glide 92. Friendly compression sounds such as the creak, vocal fry, and creaky MMM are sounds are those that eliminate excessive _____ and create a better balance between the _____. They should not be performed at ____ volumes.* air, vocal folds and air, loud breathiness, resonators, soft strain, registers, soft TEACHING THE STEP93. OBJECTIVES OF STEP FIVE The student will begin to _____ the lower and upper registers and to transition smoothly through the_____ using ______ sounds. In this step, for the first time, the student begins to ______.* strengthen, transition, high larynx, blend connect and balance, first bridge, temporary, mix develop, registers, extreme, bridge 94. What’s Different About Step Five: In Step Five, for the first time, we differentiate the order of exercises, keys, and vowel-consonant combinations according to the student’s ____ to accomplish specific results.* previous training preferences vocal category 95. UNDEVELOPED, UNBALANCED/ LIGHT LOWER CATEGORY For the Undeveloped and Unbalanced-Light Lower category singers, we continue to encourage better ____ in both the lower and upper registers. Generally, this category, the breathy singer, will need to learn to bridge ____ to create a more contemporary sound.* projection, lower tone quality, sooner vocal fold adduction, higher 96. For breathy Undeveloped and Unbalanced-Light Lower singers, we begin with ____ exercises in ___ keys to give the singer more hold or ___ in the lower register. Then we want the singer to maintain that adduction as they sing higher.* adduction, higher, approximation approximation, lower, closure bottom-up, lower, vocal fold adduction 97. ORDER OF PRIORITIES for Undeveloped and Unbalanced Light Lower Categories: 1) ADDUCT: The first step is to increase ____ of the vocal folds in the lower register, then in the upper register. 2) REINFORCE and DEVELOP: Developing the ______ by increasing adduction and closed quotient, eventually matching the quality and power of the lower register. 3) CONNECT and BALANCE REGISTERS: Balancing the ____, so they sound similar in tone quality and power. 4) MODERATE COMPRESSION AND NEUTRAL LARYNX: Discontinuing the imposed larynx and pharyngeal sounds for a ____ laryngeal position. Creak, MM, and other sounds encourage an easy onset and moderate compression. Semi-occluded exercises would NOT be the first choice for these singers; first, you need to establish better ____.* adduction, upper register, registers, relaxed and neutral, vocal fold adduction abduction, lower register, resonances, low and stable, release approximation, upper register, transitions, stable and relaxed, vocal fold adduction 98. EXERCISES BY ROUND: UNBALANCED LIGHT LOWER AND UNDEVELOPED CATEGORY ROUND ONE: BEGINNING 1. ADDUCTED ___, 2. ADDUCTED ____ ROUND TWO: INTERMEDIATE 1. TOP DOWN _____ WITH _____ CONSONANTS ROUND THREE: ADVANCED-REGISTER CONNECTION WITH TEMPORARY SOUNDS 1. HIGH LARYNX THEN LOW LARYNX ____SOUNDS 2.___ LARYNX, ____COMPRESSION* top-down; bottom-up, pharyngeal; glide, extreme, stable, moderate top down, top down, pharyngeal, voiced stop, temporary, neutral, extreme bottom-up; top-down, hooty; voiced stop, temporary, neutral;moderate 99. UNBALANCED PULLED LOWER CATEGORY For the Unbalanced-Pulled Lower singers we start the exercises in ___ keys to make sure they are above the ____ on the highest notes of the exercise. We begin with ____ exercises that create a released condition that is then ____ downward. The Unbalanced-Pulled Lower singer will benefit at the beginning from sounds that encourage more ____, such as the SOVT exercises (lip bubble, tongue trill), closed vowels that encourage a headier vocal production, aspirate consonants that allow more airflow, and glide consonants that decrease strain. Imposed larynx sounds, which we call dumb (lower register)or hooty (upper register) will counteract the tendency to engage the ____ muscles to hike the larynx, a reflex that is endemic to pulled chest.* higher, primo passaggio, bottom-up, blended, strain, diastric lower, transition, bottom-up, strain, swallowing higher, bridge, top-down, blended, release, swallowing 100. The Unbalanced- Pulled Lower category’s path of development must first encourage ___ as the singer enters the primo passaggio. Then they need to develop better vocal fold adduction in the _____ where this type of singer is usually very weak.* blend, middle register power, lower register release, upper register 101. ORDER OF PRIORITIES for Unbalanced- Pulled Lower Category: 1) ___: Releasing excess tension in the lower register and toward the first bridge, allowing the folds to function with less mass as pitch ascends, transitioning through the first bridge with “just enough and not too much” vocal fold compression. We do this first with top-down semi-occluded exercises. 2) ____: The new coordination is reinforced with hooty sounds and voiced-stop consonants such as G-B-D for better vocal fold adduction, starting with top-down, then bottom-up exercises. 3) ____: Adducted onset and Twang exercises are used in this stage, first top-down, then bottom-up. 4) ____: Connecting the registers smoothly and eliminating the break- usually by connecting first from the top-down, followed by bottom-up exercises. Balancing the registers, so they sound similar in tone quality and power with an imperceptible transition between lower and upper register. 5)____: Discontinuing the imposed larynx and pharyngeal sounds for a relaxed and neutral laryngeal position. Creak, MM, and other sounds encourage an easy onset and moderate compression. At this point, we move away from temporary sounds to a finished sound- one that would work for songs.* 1. CONNECT 2. RELEASE 3. DEVELOP THE LOWER REGISTER 4. TRANSITION 5. DEVELOP 1. ACTIVATE 2. DEVELOP 3. IMPROVE ADDUCTION. 4. BALANCE 5. POWER 1. RELEASE 2. REINFORCE 3. DEVELOP THE UPPER REGISTER 4. CONNECT and BALANCE REGISTERS 5. MODERATE COMPRESSION AND NEUTRAL LARYNX 102. ORDER OF EXERCISES ROUND ONE- BEGINNING 1. RELEASE _____ 2. RELEASE ______3. REINFORCE-___ TOP DOWN* BOTTOM-UP, TOP-DOWN, ADDUCTED ONSET TOP-DOWN, BOTTOM-UP, HOOTY STOP-CONSONANT TOP-DOWN, HOOTY STOP-CONSONANT, PHARYNGEAL 103. ROUND TWO: INTERMEDIATE 1. ____ TOP DOWN 2. ADDUCTED _____ 3. ____ TOP DOWN* PHARYNGEAL, TOP-DOWN, IMPOSED IMPOSED, TOP-DOWN, PHARYNGEAL ADDUCTED, BOTTOM-UP, PHARYNGEAL 104. ROUND THREE: ADVANCED 1. LOW LARYNX ____ then HIGH LARYNX PHARYNGEAL 2. NEUTRAL ____ MODERATE COMPRESSION* HOOTY, LARYNX IMPOSED, LARYNX IMPOSED, PHARYNX 105. LONG TERM ARC OF DEVELOPMENT FOR ALL SINGERS 1. ____: Experience a new and improved vocal coordination through the use of temporary or extreme sounds 2. ____: Increasing vocal fold adduction and compression in the upper register of the Pulled Lower singer, Increasing vocal fold adduction and compression in both the lower and upper registers of the Undeveloped and Light Lower singers. 3. ___: Reinforcing the new coordination and building strength using repetition with focused attention. 4. ___: Register balancing- the lower and upper registers are equal in strength and tone quality.* ACTIVATE, ADDUCT, DEVELOP, BALANCE DEVELOP, ACTIVATE, ADDUCT, BALANCE BALANCE, ADDUCT, ACTIVATE, DEVELOP 106. TEACHING TIPS: THE TEMPORARY SOUNDS How to Use the Temporary Sounds: 1. Semi-occluded SOVT (lip bubble, tongue trill, “Dizzy,” hand over mouth muted trombone) encourage ___. Use these exercises for the Pulled Lower singers. 2. Twang (witchy, bratty, Voce di Strega), French Nasals, Voiced-Stop Consonants, and the “cry” encourage ____. 3. Imposed larynx (hooty, dumb, dopey) counteract _____. 4. _____ sounds (creak, vocal fry, edgy MMM) correct overcompression or under compression. These sounds bring both extremes back to more moderate compression.* activation, power, strain, SOVT development, firm glottal onset, smaller pharynx, neutral larynx release, vocal fold adduction, hiked larynx, friendly compression 107. VOWEL MODIFICATION Pulled Lower singers substitute a more ___ vowel or a more closed shading of the vowel for one that is too open to avoid raising F1 frequencies too high. This creates more ____ and an easier transition into the upper register. Vowels occur on the front track or the back track, with the [ʊ] vowel falling in the middle. Stay on the appropriate ____ when modifying vowels; refer to the vowel modification chart.* closed, release, track open, hold, shading defined, hold, modification EmailThis field is for validation purposes and should be left unchanged. Δ You can be a Successful SLaS Teacher Table of Contents
