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, and diaphragm.* phonation resonation respiration 4. ___ occurs in the larynx, which houses the vocal folds. 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 vocal tract is where some frequencies or partials are boosted and others damped or attenuated, creating __.* 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 also known as the throat. 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 the pharynx can be altered by movements of the ___, which increases or decreases the tube length. 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 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 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 this is the soft palate or ____, which moves up and down.* medium palate, soft palate hard palate, velum soft palate, dingle 16. 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 larynx is low or the lips are rounded, both F1 and F2 frequencies are ___. This means 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 - a droopy, ____ soft palate allows air to move out through the nose.* hyper, lowered hypo, raised over, lazy 22. Hyper-nasal singers should counteract this tendency by imagining they are about to ___. This is known as the ____ yawn.* yawn, incipient sing, potential sneeze, inevitable 23. ____-nasality occurs when a singer ___ the soft palate too much. There is a complete blockage of the velopharyngeal port, resulting in a stuffed- nose sound, like when we have a cold.* 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 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 forward 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 resonance occurs when there is no physical ____ between two bodies.* proximity junction contact 42. 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 the shape of the container's 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, zygomatic arch soft palate, lip rounding 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. Some 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. Along with the fundamental, other frequencies, known as ___ are generated.* partials overtones harmonics all of the above 51. ____ are partials or overtones whose frequencies are multiples of the fundamental frequency.* 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 generate terminology that is misleading because it is based on ___ rather than science. The term "chest voice" evolved because 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. A singer's perceptions, though not scientifically accurate, can still be helpful ___.* imagery information ideation 58. For sensation-based singers, concepts based on ___ experiences such as split resonance and resonance transfer can be a helpful ___ 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. 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.* resonance oscillation vibration 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.* bella donna bellaggio bel canto 65. Depth of tone is known as ____. Ring or brilliance in the tone is ____.* squillo, oscuro dark, bright oscuro, squillo 66. In voice pedagogy, the four basic vibrational modes are determined by the ___ of the folds during vibration and where the folds ____ during vibration.* shape, contact formation, approximate approximation, touch 67. The four modes of the contemporary singers upper register are ___.* head, head mix, head belt, belt head, mix, falsetto, belt falsetto, head, fluty mix, brassy mix 68. Falsetto is weak and breathy, with inefficient ___ and low ___; the folds are ____ .* vibration, adduction, open resonance, tone qualtiy, approximated fold adduction, closed quotient, abducted 69. Head is the ____ sound of the classically trained soprano. 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. 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. 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 the sound of contemporary singers who want to sound like they are ____.* open, lower register, belting closed, upper register, projecting front, belt, powerful 72. Voce Vista software allows us to see the sounds we are making. It shows us the relative strength or weakness of ____. With Voce Vista, we can have a visual representation of things like timbre, ____, and vibrato.* formants, beginnings partials, phonation 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. The result generated from a particular scale depends upon how expansive it is: Larger intervals and long scales encourage ___ and register blending. Shorter five-tone scales encourage ___, or more TA muscle activation.* hold, release power, adduction release, hold hold, release 75 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. 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 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 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 with equal strength in TA dominant lower register and CT dominant upper register phonation ___ before attempting to blend or mix.* separately independently both of the above 82. Starting the scale in the lower register encourages increased vocal fold ___. Exercises that start in the lower register require a firm ___; as the pitch ascends the singer must release into the upper register while maintaining adequate vocal fold adduction. We call this ___.* adduction, glottal closure, connected release abduction, approximation, blending approximation, approach, mixing 83. Octave repeater 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. The top-down scales, when combined with semi-occluded phonation, voiceless fricative 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.* front, glide back, aspirate open, voiced stop 89. Flexibility scales develop the vocal agility to execute runs, trills, and stylistic ____ singing for singers who want to riff and run.* melismatic flexible powerful 90. The blues and pentatonic scales develop the___ necessary 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 LEARNING THE STEP91. OBJECTIVES OF STEP 4: Further development of ____ lower register phonation and ____ upper register phonation separately.* 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. In Step Four, 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 Step Two, coup de glotte both of the above OBJECTIVES BY ROUND95. Round One: Beginning: Students will improve vocal fold adduction in the upper register 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]. All other vowels can be formed c 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 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. 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.* aggressive, vibrating dynamic, approximated energetic, adducted 105. The Isolator exercises in Step Four create a greater degree of development and coordination in the muscles of lower and upper registers in ____ before attempting to connect and mix registers.* segregation isolation separation 106. The sound should be clear, strong, and ____ in both registers, rather than breathy or weak.* dynamic controlled projected 107. Make sure to place 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. Remember to expand the midsection, front, sides, and back during inhalation, and to maintain outward firmness against the breathing belt as you sing. The is called: _____.* The 360 Degree Singers’ Breath appoggio both of the above 109. Use the “cry” and staccato with these exercises for increased ___.* vocal fold adduction register connection both of the above 110. Make sure the ___ is low and relaxed on both low and high pitches.* tongue larynx soft palate 111. The sound should be __ and ___ on both low and high pitches.* released and projected balanced and unstrained clear and strong 112. If the sound is muffled on the [i] vowel, do the ___ exercise.* tongue independence SOVT easy call 113. The tip of the tongue rests behind the ____ for sustained notes.* top front teeth lower front teeth jaw 114. Many singers 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.* vibration oscillation fold adduction 115. In the beginning, you will spend most of the practice session on _____ until you can mix. This means you can ____ pitch in the upper register without flipping to falsetto or straining and pulling the lower register too high. 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 might 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. Therefore the terms chest voice and head voice are inaccurate; more accurate terms are _____.* lower register and upper register modal and falsetto thick folds and thin folds CommentsThis field is for validation purposes and should be left unchanged. Δ YOU can Sing Like a Star Table of Contents
