Step 7 Exam Name* First Last Email* HOW YOUR VOICE WORKS1. Always refer a student who experiences hoarseness for longer than _____, or any of the other indications of vocal trauma listed in the chapter, to an ENT or otolaryngologist and insist that they are ____- (undergo stroboscopy, preferably rigid stroboscopy).* two months, examined two days, referred two weeks, scoped 2. Most vocal issues such as cysts (nodules, polyps, and hemorrhages) happen because of ___ trauma to the vocal folds. Less often, but still a possibility, an issue such as a polyp occurs with a ____ event, such as screaming at an outdoor football game, or singing for an evening when the vocal folds are compromised and swollen.* repeated, single ongoing, unique both of the above 3. Swelling of the vocal folds due to illness, fatigue, or poor vocal technique prevents midline vocal fold ____. Manifestations of trauma such as nodules, polyps, and hemorrhages are the result of extended vocal ____ and make midline closure impossible.* closure, abuse adduction, overuse both of the above 4. Singing too loudly, too long, or with too much air pressure will result in ____, or swelling of the folds, which then leads to further issues if not addressed by vocal rest, rehabilitation, and better vocal technique. Most of these issues, once manifested, tend to ___.* edema, reoccur swelling, happen again both of the above 5. The most common result of vocal trauma is vocal fold ____, one of the most common causes of voice problems, generally seen in three forms; ______.* lesions; nodules, polyps, and cysts problems, bumps, swelling, and growths neither of the above 6. A change in ___ and persistent ____are often the first warning signs of a vocal cord lesion. Other symptoms can include: • Vocal _____ • Unreliable voice • Delayed voice _____ • Low, gravelly voice • Low pitch • Voice breaks • Airy or breathy voice • Inability to sing high, ___ notes • Increased effort to speak or sing • Hoarse and rough voice quality • Frequent throat clearing • Extra ____ needed to produce tone* habits, mistakes, hoarseness, tiredness, onset, loud, energy voice quality, hoarseness, fatigue, initiation, soft, force neither of the above 7. Nodules appear in the area of the folds where ____ between the folds is most forceful. They are often present on both folds, facing each other, at the ____ of the vocal fold.* contact, midpoint meeting, endpoint both of the above 8. The inability to sing __ notes is one of the hallmarks of nodules; there is a delay in the ____ of the sound, with an audible air escape, and then the sound starts abruptly. Nodules are a natural response to increased trauma, similar to ___ on the hands.* loud and strong, sustain, bumps high and soft, onset, calluses low and loud, beginning, swelling 9. Surgery is ___ unless the singer has a committed attitude toward changing the habits that created the issue in the first place. There are two ways of dealing with vocal fold nodules, dependent upon their ____. Soft or young nodules most likely resolve on their own with voice therapy. However, hard or old nodules generally require surgical removal.* helpful, size and depth useless, age and hardness both of the above 10. The best preventive steps are 1. Develop and maintain good ____. 2. Use caution regarding ____ of the voice. 3. Hoarseness or breathiness that lasts for more than __ may signal a voice disorder and should be followed up with an otolaryngologist or ENT.* habits, abuse, two months vocal technique, overuse, two weeks records, pushing, six weeks 11. The best way to think about the difference between nodules and polyps is to think of a nodule as a ___ and a polyp as a ___. Long-term cigarette smoking, hypothyroidism, and ___ (acid reflux) may cause polyp formation.* blister, callous, NERD swelling, bump, BERD callous, blister, GERD 12. Polyps, like nodules, may respond to treatment but tend to ___ if vocal habits are not changed and permanently maintained.* reoccur come back both of the above 13. A cyst is an air, fluid or semi-solid substance filled ___ which can develop in any part of the body including bones, organs or soft tissues whereas a polyp is an abnormal growth of ___, protruding from the mucous membrane. Cysts often occur near the ___ of the vocal fold.* hole, membrane, center growth, mucosa, back cavity, tissue, mid-portion 14. The cyst causes a portion of the vocal fold mucosa to become stiff, preventing normal ____and affecting voice quality and ease of production. Indications of a cyst forming may include abnormal ___, vocal fatigue, and discomfort or pain associated with _____,* activity, singing, yelling singing, talking, whispering vibration, voice quality, talking 15. Hemorrhage is the result of the rupture of a blood vessel on the vocal fold that creates bleeding into the ___ of the fold. Sometimes the bleed becomes encapsulated into a ___. Hemorrhage is typically an ___ event.* epethelium, granuloma, ongoing mucosa, cyst or polyp, acute (sudden) body, nodule, unique 16. Vocal fold hemorrhage may happen when ___ products (an anticoagulant) or ___ (a vasodilator) are used and is more common in women during the ___ cycle.* alcohol, aspirin, vibrational blood thinning, aspirin, vibrational aspirin, alcohol, menstrual 17. A granuloma is a benign growth that typically occurs in the ____ part of the larynx, either directly on the vocal fold or on one of the mucosal surfaces nearby. A large enough lesion may obstruct the ___.* anterior, (front), trachea mid section, esophagus posterior (back), trachea 18. Granulomas are related to some acute or chronic injury, such as trauma from ___ during surgery, an extended bout of coughing or other vocal trauma, chronic acid reflux ___, mild chronic trauma such as frequent ___, and poor vocal technique.* oversinging, GERD/LPRD, talking surgery, GERD/LPRD, singing intubation, GERD/LPRD, throat-clearing 19. The most common vocal complaint from adults is vocal strain (hyperkinetic dysphonia) from ____ of the vocal muscles while singing or speaking. Dysphonia is due to poor voice production and occurs often in tense individuals who speak or sing for a ___ as a result of poor ___.* overuse, living, breath support underuse, long time, appoggio abuse, one evening, habits 20. Muscle tension dysphonia occurs when excessive laryngeal muscle ___squeezes the vocal folds and surrounding muscles into a “fist” configuration, preventing air from moving through the vocal folds to enable normal vibration. Indications include throat _____, muscle aches in the neck while talking or singing, rough, hoarse voice that gets worse with continued use.* tightness, tension activity, looseness tension, tightness 21. Muscle tension dysphonia occurs when the external laryngeal muscles are either too _____ or are ___ in the speaking or singing voice. When this happens, the vocal folds do not function properly. ____ can also contribute to dysphonia.* tight, over-used, medications loose, under-used, talking soft, hard, age 22. Acid reflux is a condition in which stomach acids rise into the ___ because the ___ that separates the stomach contents from the esophagus is faulty. The stomach produces strong _____ and enzymes (gastric juices) which are used in food digestion.* trachea, sphincter, bile sphincter, valve, acids esophagus, valve, acids 23. Presbylaryngis is caused by ___ and thinning of the muscles and tissues due to ___.* overuse, singing deterioration, aging abuse, talking 24. Any vocal issue that persists more than __ should be investigated by a visit to an ENT (ear, nose and throat doctor) or an otolaryngologist. Singers who undergo surgery should insist on SMALL sized tubes for ____.* two months, breathing six weeks, saline two weeks, intubation 25. Lack of sleep produces ___ of the tissues. Think of having a limited vocal ___.* redness, bandwidth edema or swelling, budget dryness, lifespan 26. Dr. Van Lawrence, a world-renowned ENT (ear, nose and throat specialist) has been credited with saying "Drink___ until you ___".* soda, are full water, pee pale beer, pee often 27. Daily ____ exercise is good for all the cells of the body including the vocal folds.* anaerobic strength training aerobic 28. Any food that causes your body to produce ____ should be avoided- this is the body’s way of reacting to a perceived toxin and inflammation.* hormones phlegm fat cells 29. Avoid ___ environments.* noisy smoky both of the above 30. Be aware of your ____ voice: You should be speaking in your mix, in the area of the voice where you say "MMMM-HMMMMM" as if you are enthusiastically agreeing with someone.* speaking shouting laughing 31. A professional singer should be adept at ____ (singing at half volume during rehearsals).* highlighting lowlighting marking 32. Protect your fragile and irreplaceable instrument by refusing to sing too ___. A guitar string can be replaced, but the vocal folds cannot be replaced.* often or too late long or too loud high or too low 33. Think Like an Athlete: an athlete ___ their muscles every day. Singers need to vocalize daily on ____ that will encourage balanced registration and a good mix.* stretches, songs works out, riffs exercises, exercises 34. Though gargling does nothing for the vocal folds, it may help to soothe the tissues of the throat. Since liquids do not touch the ___ they won’t minimize swelling of the folds).* vocal folds trachea espohpagus 35. ___, if inhaled, will hydrate the vocal folds and help minimize swelling. A ___is a small, portable device that converts liquid medicine into a fine mist you inhale by breathing through a mouthpiece or mask.* saline, steamer steam or mist, nebulizer water, inhaler 36. The ___ exercises are great for warming up the voice, for experiencing proper appoggio, and for reducing hyper-function (too much effort, tightness or constriction in the vocal tract) and for reducing vocal fatigue due to over-use of the voice.* voiced fricatives semi-occluded vocal tract (SOVT) adducted onset 37. The _____ voice needs to be pitched properly and supported with a low _____ and appoggio.* speaking, breath singing, inhale lecturing, support 38. Singing too loudly, too long, or with too much air pressure will result in ____, or swelling of the folds. Most vocal issues, once manifested, tend to ___ unless technique and other habits are improved.* edema, reoccur swelling, happen again both of the above TOOLS FOR TRAINING VOICESCOMBINING THE SLAS TOOLS: THE TOOL CHARTS39. Once your student is proficient at singing the first option tracks (the ones with the vocal demonstration, most likely to encourage success), you can begin to use the __ tracks. These tracks provide more ___syllable options. Remember to think about your ___ when choosing alternate options.* alternate, challenging, objectives opposing, helpful, goals useful, harder, problems 40. REVIEW: 1.) If your student is currently in the Undeveloped category (their voice has a breathy sound from bottom to top), they will need exercises that more efficiently ____the vocal folds. 2.) If your student’s voice is Unbalanced-Pulled Lower (they strain and push the lower register too high) they will benefit from exercises that create more ___. 3.) Imposed larynx exercises such as the “dumb” “hooty” sounds activate the depressor muscles to counteract a high ___, which is intrinsic to the Unbalanced- Pulled Lower Category. 4.) If your student’s category is Unbalanced-Pulled Lower, your objective is to generate less strain. We need greater release in the lower register, but better ___ in the upper register. 5.) If your student’s voice is Unbalanced-Light Lower (weaker or breathier on the bottom notes than on the top), they will benefit from exercises that help to more efficiently adduct the vocal folds, particularly in the ____.* release, adduct, vocal folds, trachea, upper register power, abduct, tongue, vocal fold abduction, lower register adduct, release, larynx, vocal fold adduction, lower register 41. The Tool Charts will help you to select the right combination of ____, and other tools to create exercises that will give you the best results. If your student’s vocal tendency is to strain and pull the lower register too high (Unbalanced-Pulled Lower category) the tools that provide _____ are the best choices. If your student’s voice is breathy and weak (Undeveloped, Unbalanced-Pulled Lower) you should select the tools that provide better ____.* vowels, consonants, scales; release; hold songs, riffs, and runs; hold; release reading, memorizing, and writing; connection; balance TEACHING THE STEPADVANCED MUSICAL SKILLS: DYNAMICS, FLEXIBILITY, ADVANCED VIBRATO, STEPWISE MOTION, POWER, SINGING SONGS42. In Step Seven, we are working on ___skills and learning to apply these skills to singing ____.* advanced, songs complicated, scales developmental, better 43. SKILL ONE: DYNAMICS: Crescendo means to get _____, and decrescendo/diminuendo means to get _____. We want to be able to do either of these without engaging extrinsic interfering muscle. Increasing volume requires ‘just enough and not too much’ increased ___and a corresponding increase in vocal fold tension. The terms messa di voce and mezza voce are sometimes confused; mezza voce means to sing at a ___, as you might do when you are sick or when you have long rehearsals. Messa di voce is a skillful ___.* softer, louder, breath pressure, increased volume, diminuendo louder, softer, dynamics, increased volume, crescendo/decrescendo louder, softer, air pressure, reduced volume, crescendo/decrescendo 44. SKILL TWO-FLEXIBILITY: Flexibility exercises build a healthy, elastic, and pliable vocal instrument and prepare your student to execute clean _____ in Step Eight- Style. Exercises are presented first at a slower speed, then at the faster speed.* power dynamics riffs and runs 45. SKILL THREE: ADVANCED VIBRATO: Vibrato is an oscillation or slight variation of frequency (perceived as pitch) and/or amplitude. ___variations of a quarter step above the mean of the pitch and a quarter step below are pleasing to the ear. Vibrato rate is usually around ___ oscillations per second. Faster “flutter” vibratos (___) are not contemporary sounding and vibratos that are too slow exhibit too much ____ (wobble).* vibrato, 6-8, wobble, amplitude variate frequency, 5-7, tremolo, pitch variation tremolo, 5-7, flutter, fundamental variation 46. Evidence of incorrect vibrato includes a shaking ____, a pulsating ___, and uneven ___.* jaw, tongue, modulation tongue, jaw, amplitude head, throat, sound 47. Vibrato rates can vary to match the rhythmic ____ of the music.* beat pulsation subdivisions 48. In teaching vibrato, we seek to give the singer skills so they can make choices. Vibrato is learned by ______, whether conscious or unconscious.* formation subjegation imitation 49. 49. Vibrato is created with an oscillation of _____; with the pulse vibrato, the oscillating effect is created with changes in ____.* fortitude, dynamics amplitude, volume pitch, amplitude 50. Pitch change vibrato is made at the ___ level, by slight changes in the vocal folds' length.* laryngeal tracheal pharyngeal 51. With delayed vibrato, the singer _____ a pitch with a _____ tone then allows the release of the vibrato to occur.* sustains, straight produces, wavering allows, focused 52. Diphthongs: When singing words with diphthongs, remember to delay the ____ vowel sound of the diphthong, which is more ____ than the vowel it precedes. Think of the second sound as an ____ rather than sustaining on it.* incorrect, correct, opportunity first, open, option second, closed, afterthought 45. SKILL THREE: ADVANCED VIBRATO: Vibrato is an oscillation or slight variation of frequency (perceived as pitch) and/or amplitude. ___variations of a quarter step above the mean of the pitch and a quarter step below are pleasing to the ear. Vibrato rate is usually around ___ oscillations per second. Faster “flutter” vibratos (___) are not contemporary sounding and vibratos that are too slow exhibit too much ____ (wobble). 46. Evidence of incorrect vibrato includes a shaking ____, a pulsating ___, and uneven ___. 53. In Step Seven we encourage a ___ and less obtrusive vibrato. By being aware of and practicing various vibrato types, the singer can begin to make choices. 2. Vibrato should be tailored to the ___ of music. 3. The presence of vibrato indicates good ___. 4. With the vibrato exercises it is important that the ___ of vibrato matches the guide on the recording- neither too fast nor too slow. 5. Do your __ by listening to singers of many different eras. Notice how vibrato choices align with musical style.* slower, volume, technique, pulse, homework faster, style, balance, rate, research steady, dynamics, support, pitch, practice 54. SKILL FOUR: STEPWISE MOTION: It’s easier to sing wider ___than to sing melodies in stepwise motion, but that is what we have to do in songs! We can create greater ease in transitioning through the primo passaggio with ____.* melodies, consonants octaves, connection intervals, vowel modification 55. SKILL FIVE: POWER When working on increased power, we need to coordinate and balance four components of our vocal system: 1. A balanced __. 2. The balance of __activity. 3. Balanced __, or more precisely formant/harmonic activity, which we control by the way we shape the resonators of the pharynx and mouth, including the tongue, lips, jaw space, and soft palate. 4. The balance of air pressure and vocal fold resistance, or ___.* placement, LCA/TA muscle, chiaroscuro, muscle and air onset, resonance, phonation, extrinsic, dynamics onset, TA/CT muscle, resonance, air and muscle 56. SKILL SIX: SINGING SONGS To improve vocal technique you should choose songs for them that ___ or are the opposite of your student's current vocal habits.* interact support counteract 57. OBJECTIVES IN SINGING SONGS: 1.) Appropriate ___ and closed quotient. 2.) Appropriate ____ 3.) Balance Good singing requires a balanced _____, a balance between the registers, a balance between the vocal folds and air pressure, a balance between bright and dark resonances (chiaroscuro), and balancing the body with good alignment.* volume, soft palate position, phonation dynamics, larynx height, approach vocal fold adduction, laryngeal position, onset 58. GETTING RID OF BREAKS To avoid the problem of voice breaks when singing from a low pitch to a high pitch, singers must learn to coordinate the vocal mechanism in four ways: 1. Lengthening/thinning of the ___. The vocal folds cannot remain ______; allowing a thinning action of the vocal folds rather than hanging on to the thicker, shorter, TA dominant phonation of the lower register creates a smooth transition from the lower to the upper register. This will happen naturally with the selection of the correct vowel, consistent and minimal air pressure, and a stable _____ position.* vocal tract, short, throat vocal folds, static, laryngeal throat space, lengthened, mouth 59. Consistent tone quality requires good vocal fold adduction at the ____ of tone and even ___ throughout the range.* beginning, timbre start, dynamics onset, compression 60. Registration issues are often problems of ___ adjustment. Resonance adjustment occurs with effective ___ tuning as a result of vowel modification. Often a more ___ vowel is substituted for an open vowel to encourage an easy transition through the passaggi or bridges of the voice.* resonance, formant, closed attitude, vowel, open resonance, formant, closed 61. Dropping the jaw and creating more resonating space is necessary for ___ pitches. When the vowel is not modified singers begin to employ ___ interfering muscular action to compensate; phonation becomes tight and squeezed, pitch usually begins to go flat, laryngeal tension increases, subglottic breath pressure becomes excessive, and register breaks occur-all because resonance adjustments were not made by the process of vowel modification. In reverse, when singing from a high note to a low note, it may be necessary to modify the vowel in the other direction, choosing a vowel that is more _____ .* higher, extrinsic, open lower, intrinsic, closed louder, incorrect, open 62. When singing from low to high pitches, the singer must maintain a moderate ___. By not allowing the volume to be excessive, particularly on the highest notes of the lower register (the ____ to the first bridge) the vocal folds can more easily transition to a thinner condition.* dynamics, beginning approach, pathway volume, approach STRATEGIES TO ENCOURAGE BALANCED REGISTRATION, MIX, AND A SMOOTH TRANSITION THROUGH THE PRIMO PASSAGGIO63. Keep the mouth neutral and don’t ___ the lips. Remind the student “___ on the chin, corners in, jaw down.” They can show a few teeth in front (___ shape) . A singer needs more ___ space as they go higher in pitch, but not more horizontal space.* widen, palm, pear biting, lateral spread, palm, apple biting, vertical push out, palm, neutral, vertical 64. Vowel substitution/ modification: straining usually occurs in the notes approaching and in the ___. To counteract this, substitute a slightly more ___ vowel for the open vowel that is causing the singer to pull the lower register too high. Use vowels that are more ____ if they are breathy or weak. Remember that you modify a front vowel to its next closest and more closed _____ neighbor, and a back vowel to its next closest and more closed back neighbor using the Vowel Modification chart.* primo passaggio, open, closed, back transition, closed, closed, front first bridge, closed, open, front 65. Key Transposition: Problems occur for the Unbalanced-Pulled Lower singer when a song is set in a key that is too ___. ____ will allow you to import a track, transpose it, and then export it in a higher key without altering the sound quality of the track.* high, Garage Band high, i-tunes low, The Amazing Slow Downer 66. Syllable Substitution: Substituting the singer-friendly __ for words or phrases that are challenging will help the neuromuscular system become used to producing those pitches correctly. Keeping the lips forward lengthens the ___ for release. If the student’s upper register is weak or breathy, you can substitute NAY (n[ei]) or NY [æ] to get more __ in the mix.* vowels, vocal tract, energy syllables, vocal tract, power consonants, tube, edge 67. Marking the Music- When learning a new song, singers should: 1. Print the sheet music (from musicnotes.com). 2. Circle the notes in the ___, so they are aware when they need to “shift gears” to the upper register. 3. Write in the ___ vowels or syllables. These vowels and syllables are the counter or opposite of their current tendencies. If their voice is Undeveloped or Light Lower (too breathy and weak) substitute vowels that are more ___. If the student is Unbalanced-Pulled Lower (straining and pulling) substitute more ___ vowels.* primo passaggio, better, closed open verse, hard, easy first bridge, substitute, open, closed 68. Almost nothing is more cringe-inducing than listening to a singer singing a difficult riff that is out of tune and rhythmically inaccurate. The problem is that their ___ is not advanced enough to hear the riff accurately, and their technique is not developed enough to sing the notes precisely. Take singers through the ____ exercises in Step Seven and the Basic Riffs and Runs, Pentatonic, and Blues exercises in Step Eight to build their ____, confidence, and ear training sequentially.* musicianship, power, self esteem ear training, Flexibility, skills development, dynamics, power 69. When working on riffs and runs, ___ helps singers improve precision and good intonation. Don't allow students to sing the whole song over and over sloppily- Remember-“practice doesn’t make perfect- it makes ___.”* isolating, improvements bunching, better chunking, permanent 70. Remember that the objectives of good singing are: 1.) Appropriately __vocal folds (clear, strong vocal sound). 2.) A relaxed neutral larynx that doesn’t hike for higher pitches (__ muscles not engaged). 3.) Freedom from __ muscles 4.) ___-balance between the air pressure and the focusing strength of the vocal folds, a balance between the lower and upper registers, and balance of tone colors and resonance-chiaroscuro.* balanced, intrinsic, excluded, development adducted, extrinsic, interfering, balance developed, extrinsic, incorrect, placement 71. TEN HINTS FOR SINGING SONGS Vocalize the song with any or all of the following options: 1.) ___: Lip Roll, “Dizzy,” or other semi-occluded sounds for good vocal fold vibration and balance of subglottal and supraglottal air pressure. 2.) ___ Larynx: Hooty Gee, or other imposed larynx sound for depth and transitions. 3.) Pharyngeal: Bratty Nay, or other pharyngeal sounds for ___. 4.) Friendly ____: Vocalize song on NG or MM for mix and balanced onset. 5.) ____Vowel: Vocalize song on "mum" to center the vowel. 6.) Eliminate ____ for Legato 7.) ___ It, Then Sing It: Speak the text of a phrase, then sing it, keeping the same clear, balanced vocal production you found when speaking the phrase. 8.) Watch Out for ____: Delay the final vowel sound of a diphthong until the very last moment-it should be an after-thought. 9.) For Release: bend ____ or plie on high notes. 10.) Maintain an even ___ level from the bottom to the top.* Adduction, raised, power, tones, modified, vowels, shout, volume, down, tone SOVT, Imposed, edge, compression, central, consonants, speak, dipthongs, forward, volume appoggio, raised, release, constriction, open, volume, whisper, consonants, back, timbre 72. The objectives of good singing are: 1.) Appropriately ___ vocal folds (clear, strong vocal sound) 2.) A relaxed neutral larynx that doesn’t hike for __ pitches 3.) Freedom from ____ muscles. 4.) Balance between air pressure and the focusing strength of the ___, balance between the lower and upper___, and balance of tone colors and resonance- ____.* closed, lower, intrinsic, vocal chords, resonance, oscuro lengthened, extrinsic, extrinsic, glottis, resonance, chiaroscuro adducted, higher, extrinsic, vocal folds, registers, chiaroscuro 73. STRATEGIES FOR SINGING SONGS: 1.) ___ mouth position. 2.) Vowel ___ 3). Key ___ 4.) Syllable ___ 5.) Maintain moderate ___ 6.)__ the Music 7.) Get ___ (bend forward, plie, cry, etc)* neutral, modification, transposition, substitution, volume, mark, physical relaxed, placement, lowering, improvement, dynamics, highlight, emotional forward, substitution, changes, modification, volume, circle, personal 74. THE EIGHT- STEP PROCESS FOR FIXING ANY ISSUE IN A SONG 1.) Semi-Occluded: Lip Roll, “Dizzy”, or other semi-occluded sound for good vocal fold vibration and balance of subglottal and supraglottal ____. 2.) Imposed Larynx: Hooty Gee, or other imposed larynx sound for depth and ___. 3.) Bratty N[ei] or other __ sound for vocal fold adduction. 4.) Friendly ____: NG or MM for speech level. 5.) Vocalize song on mum to ______ the vowel. 6.) Eliminate Consonants for ___. 7.) ___, Then Sing It 8.) Watch Out for ___: Delay the final vowel sound of a diphthong until the very last moment- it should be an afterthought.* resonance, clarity, bratty, consonants, improve, dynamics, shout it, consonants air pressure, transitions, pharyngeal, compression, center, legato, speak it, diphthongs registers, oscuro, edgy, syllables, neutralize, connection, think, dynamics CommentsThis field is for validation purposes and should be left unchanged. Δ You can be a Successful SLaS Teacher Table of Contents
