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 ____. 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.* 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. 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 folds. 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 ___ in the lungs.* breath pressure subglottal pressure both of the above 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. During phonation, aerodynamic energy is converted to ____ energy. 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.* 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: the ____ (also called the throat) comprised of the laryngopharynx, the oropharynx, and the nasopharynx, and the ____, (which includes the tongue, soft palate, and lips).* pharynx, mouth throat, mouth 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.* 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. 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 ___. Harmonics are generated by the ___. Faster vocal fold vibrations (ie- higher pitches) generate ___ harmonics.* pitch, vocal tract, increasing harmonic, vowel, lower fundamental, 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. One definition is simply "a formant is the pitch of the vibrating ___ in a ___.* frequencies, resonator hertz, tube air, container 22. The resonators or containers are the ____ and ____ in the singer's vocal tract.* epilarynx and nasal cavities throat and pharynx mouth and pharynx 23. Formants are the ranges of ___ at which stronger ____ occurs-where vocal tract responds the most. Pockets of air vibrate at preferred frequencies determined by the ___ of each container and also 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 most singing circles. 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. * 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. The pharynx 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. * throat, larger pharynx, smaller mouth, smaller 30. The ________ divides these two containers of air.* tongue constriction both of the above 31. Although they are always working together, in a 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, tongue 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. Men will be lower, due to a larger larynx, women will be a bit higher, and children higher still.* vocal tract 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 larger.* tongue forwardness, open, higher tongue height, closed, lower tongue backwardness, closed, higher 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 epilarynx. 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 ____. chest voice or lower register, the 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 in the voice.* 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. TA-dominant phonation implies ___ 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. This sound is associated with ___ vocal folds and less vocal fold ____ (mode 2). The resonator shape is ___- larger in the back and smaller in the front.* whoop, lengthened, mass, convergent classical, adducted, mass, divergent twang, shortened, vibration, squared 50. The octave between approximately ____ and ____, is known as the ___. The problem with this area is there are many incorrect ways of singing that 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. The first bridge or primo passaggio is the most challenging and least ___ section of the voice. to sing higher pitches, the vocal folds 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 ____.* important, CT-TA, F2-F1 stable,TA-CT, F1-F2 valuable, LCA-IA, F1-F2 53. Vocal ___ happens if singers belt too high. A breathy ___ happens after the inevitable flip.* power, vowel release, flip strain, falsetto 54. We must maintain even vocal fold compression and refrain from increasing air pressure as we sing higher to achieve ___.* released connection connected release smooth gear shift 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, twang 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. ____ is very low. They have 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. A lack of balance can occur in the following ways: a) ____ imbalance (formants and harmonics) b) Coordination of the ____ muscles. c)____ air pressure imbalance: This affects glottal closure. 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 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/ligament 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.* prevention occlusion shut down 68. Mixed voice has to do with ___ the bottom of the vocal fold adducts or comes together half-way up the depth of the fold.* registration resonance vocal fold adduction 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 SOVT exercises is beneficial in learning to mix because these exercises create a ___ of acoustic energy or power while preventing singers from over-adducting the vocal folds as the pitch rises.* feedback resurgance increase 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.* energy, tongue, H1, H2 lung capacity, soft palate, F2, H1 air pressure, larynx, F1, H2 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 ___.* glottal closure, volumer, 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.* second formant, first formant first formant, second formant first harmonic, second harmonic 74. Unbalanced- Light Lower singers 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. 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 mix can be ____ or ____.* 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. Most people feel comfortable in 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. Laryngeal lifting happens when the ___ muscles engage.* F1/H2, extrinsic modal, swallowing both of the above 79. 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- Allowing the larynx to rise as pitch ascends creates the potential for ____.* neutral, belting stable, instability 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. The 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. In Step Six, we eliminate the temporary sounds where the larynx is imposed or high, in favor of sounds where the larynx is ____ and ____.* relaxed and unmoving low and relaxed neutral and stable 82. Semi-Occluded Vocal Tract (SOVT) Phonation is helpful for ___ and to balance subglottic and supraglottic ___ to create optimal vocal fold vibration.* 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.* firm glottal closure adduction both of the above 84. The witchy, bratty, Voce di Strega or Twang 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 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 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: Increasing ___, Increasing ___, and narrowing the ___ .* breath pressure, closed quotient, epilarynx projection, adduction, pharyngeal high harmonics, approximation, larynx 88. The extrinsic muscles are outside the larynx, holding the larynx in place and assisting with ____. These muscles, if tensed while singing, will interfere with good vocal production. When we swallow, the ____ muscles raise the larynx.* phonation, digastric breathing, strap swallowing, 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”. Any tool, overused, 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 category) 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.* breathiness, vocal folds and air, loud breathiness, resonators, soft strain, registers, soft LEARNING THE STEP93. OBJECTIVES OF STEP FIVE The student will begin to ___ the lower and upper registers and to transition smoothly through the ___ (primo passaggio) 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. In Step 5, for the first time, we differentiate the order of exercises, keys, and vowel-consonant combinations according to the student’s ____.* tendencies habits vocal category 95. 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.* adduction, higher, approximation approximation, lower, closure bottom-up, lower, vocal fold adduction 97. ORDER OF PRIORITIES for Undeveloped and Unbalanced Light Lower Categories:1) The first step is to increase ____ of the vocal folds in the lower register, then in the upper register.2) Developing the ____ by increasing adduction and closed quotient, eventually matching the quality and power of the lower register.3) Balancing the ____, so they sound similar in tone quality and power. 4) Discontinuing the imposed larynx and pharyngeal sounds for a ____ laryngeal position.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 closed vowels that counteract the tendency to engage the ____ muscles.* 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) ____ with top-down 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 Pharyngeal 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. 5)_____ Discontinuing the imposed larynx and pharyngeal sounds for a relaxed and neutral laryngeal position.* 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. Temporary Sounds: For ____: Semi-occluded SOVT; For ____: Adducted onset, Twang (witchy, bratty, Voce di Strega), French Nasals, Voiced-Stop Consonants, and the “cry.” To counteract a ____: Imposed larynx (hooty, dumb, dopey);To correct overcompression or under compression: ____ sounds (creak, vocal fry, edgy MMM).* 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. to create more ___ and an easier transition into the upper register. Stay on the appropriate ___ when modifying vowels; refer to the vowel modification chart.* closed, release, track open, hold, shading defined, hold, modification PhoneThis field is for validation purposes and should be left unchanged. Δ YOU can Sing Like a Star Table of Contents
