Step 6 Exam Name* First Last Email* HOW YOUR VOICE WORKS1. The vocal folds, the ___ of the system, are located inside the larynx or Adamʼs Apple. Air pressure from the lungs (the ___ of the system) causes the folds to open and close very quickly, releasing acoustic energy. The vocal tract is the ___ of the system.* phonator, resonator, generator vibrator, generator, resonator phonation, resonation, generator 2. The respiratory system is also known as the generator It generates ___. The vocal folds, known as the vibrator ____ air, converting aerodynamic energy to acoustic energy The vocal tract is a resonator also know as the ____ that boosts or attenuates harmonics.* partials, produces, container harmonics, pressurized, converter air pressure, resists, filter 3. In good singing, the voice functions efficiently as a system, due to the coordination of ___ .* aerodynamics and acoustics formants and harmonics air and muscle 4. As sung pitches get higher, there must be a “hand-off” from TA dominant to CT dominant vocal fold vibration. The hand-off will happen naturally with the selection of the correct ___, minimal ____, and a stable ___ position that allows the cricothyroid or CT muscles to tilt the ____ cartilage and thus lengthen the vocal folds.* exercise, volume, soft palate, cricoid vowel, air pressure, laryngeal, thyroid syllable, flow, jaw, thyroid 5. Pitch is changed by alterations in the ___ of the vocal folds.* adduction, approximation and vibration formation, vibration, and length length, thickness, and tension 6. In the chest voice or lower register, the TA muscles are more active, and the vocal folds are shorter and thicker as the TA muscles contract the ____ of the vocal folds. To sing higher, the CT muscles become progressively more active, tilting the thyroid cartilage forward so the vocal folds become longer and tauter, while the TA muscles ___ activity.* adduction, increase body, reduce mucosa, initiate 7. Both muscle groups are active in the ____ register- the CT muscles work against the contraction of the TA to raise the pitch. To sing higher, however, the CT muscles and ___ must take over more and more of the work until, on the highest pitches, the TA muscle is largely quiescent. A smooth handoff requires coordinating both ___.* upper, CT, adduction and abduction middle, mucosa, formants and harmonics lower, ligament, muscle and resonance 8. Singers who prefer belting take the lower register too high, creating ____ and vocal abuse. Others who prefer the trained classical sound sometimes bring the head voice or CT-dominant phonation too low, creating a ____ tone in the lower register.* strain, breathy and weak force, powerful pressure, clear 9. To sing higher, the objective is mixed registration with a ___ to the upper register, rather than holding on to the familiar lower register.* connected release smooth transition both of the above 10. A formant is an acoustic resonance of the vocal tract, measured as an amplitude peak in frequency when a singer sings into a ____. Another way of describing formants is to say that a formant is a pocket of air in the vocal tract that vibrates at specific frequencies due to the ____ of the adjustable containers- the mouth and pharynx. Harmonics are partials, higher frequencies produced along with the fundamental frequency or pitch, that provide ____ or tone color.* oscilloscope, thickness and opening, tone quality spectrogram, size and shape, timbre microphone, tension and size, chiaroscuro 11. Some harmonics are boosted in the vocal tract by their proximity to ____ frequencies, and some are attenuated or damped, depending on the size and shape of the pharynx (throat) and mouth resonators.* partial harmonic formant 12. When we sing from low to high, we must allow a shift from the first formant/ second harmonic coupling, F1/H2, to the second formant coupling with higher harmonics: F2/H3 (back vowels) or F2/H4 (front vowels). This is ____* resonance transfer perceived resonance mask resonance 13. The ____ are the resonators in singing. They form an adjustable ____ that is divided by the tongue, the middle of which is called the ____. The size and shape of each of these resonators affect timbre due to changes in the relationships between ____ as the tongue changes position.* jaw and soft palate, space, hump, resonators pharynx and mouth, tube, constriction, formants and harmonics throat and mouth, resonator, arch, articulators 14. The size and shape of the resonators affect timbre due to changes in the relationships between formants and harmonics as the ____ changes position. In a simplified model, we can think of the _____ (the distance from the vocal folds to the tongue constriction or hump of the tongue as it shapes vowels) as being the area where F1 or the first formant frequencies resonate. The ___ (the distance from the tongue constriction or hump of the tongue as it shapes the vowel, to the lips) is the area where the higher second formant or F2 frequencies resonate.* jaw, mouth, throat mouth, jaw space, front room tongue, throat or pharynx, mouth 15. As the tongue moves from a high to a low position (from ___ vowels), the ____ cavity decreases in volume or space, and the mouth cavity (meaning the area in front of the tongue constriction) ____ in volume or space.* closed to open, pharyngeal, increases open to closed, mouth, decreases closed to open, mouth, decreases 16. F1 is correlated inversely with tongue height; the higher the tongue is, the more ____ the vowel is, Closed vowels, because the tongue is high in the mouth and pulled upward and out of the pharynx, create more ____ space and less ____ space. Because the pharynx resonating space is larger, ____ harmonic frequencies resonate in the pharyngeal cavity. The lower F1 frequencies, resonating in the pharynx, provide the “oscuro,” or darkness/depth in tone quality, rather like the bass EQ on a stereo. A ___ resonating cavity enhances lower frequencies.* open, mouth, pharyngeal, higher, smaller closed, mouth, pharyngeal, higher larger closed, pharyngeal, mouth, lower, larger 17. F2 is correlated with front to back tongue positions. The more forward the tongue is, the smaller the ____ container becomes, and the higher F2 frequencies will be stronger. When the tongue is both high and forward, as in the [i] vowel, the pharynx container will be ____ and the mouth container will be ____. Smaller containers boost ____ frequencies, so the higher F2 frequencies will stronger when singing an [i] vowel. F2 provides chiaro/squillo, or brilliance.* mouth, larger, smaller, higher pharynx, smaller, larger, lower mouth, smaller, larger, lower 18. ____ are a combination of F1 and F2; the pharynx and mouth are both active in vowel formation. However, most vowels are highly skewed toward one ____ or the other; that is what gives the vowel its defining characteristic sound. To create the best sound, singers must learn to “tune” the vowel formant frequency to a _____ that is in the vicinity of the formant, thereby increasing the acoustic energy of that harmonic.* vowels, formant, harmonic consonants, harmonic, formant pitches, vowel, harmonic 19. Without correct vowel or formant tuning, the vocal folds are unable to maintain adequate ____.* intonation and control compression and vocal fold adduction pitch and tone 20. The tongue must be ____ so that we can sing vowels clearly. When we drop the jaw for higher pitches, vowels often become muddy and indistinct. The problem lies with the tongue. The AH-EE ____ exercise develops independence between the tongue and jaw.* high, flexibility low, flexion flexible, tongue independence 21. Vowel modification via adjustments of the ___ encourages a smoother transition through the primo passagio. If the vowel is not modified as pitch ascends the singer begins to employ ____ action to compensate.* jaw, intrinsic muscle tongue, extrinsic muscle resonator, digastric strap 22. We alter formant frequencies by movements of the ____: the tongue, lips, and jaw.* articulators resonators vibrators 23. In great painting there is a balance of bright and dark on every canvas, known as ____. In the same way, a well- produced vocal tone will have a balance of bright and dark, known as ____. The squillo is the ___ in the sound. If a singer is ___, they will not have squillo in their singing.* bright and dark, balance, depth, passive squillo-oscuro, chiaroscuro, edge, Undeveloped chiaroscuro, squillo-oscuro, brilliance, breathy 24. F1, resonating in the pharynx or throat, is associated with depth or fullness of sound, called oscuro. F1 is affected by ___, ___, and ___.* appoggio, adduction, and phonation laryngeal height, tongue height, and jaw-dropping vowels, consonants, and appoggio 25. F2, responsible for chiaro, resonates in the mouth and is affected by the position of the tongue from ____.* low to high closed to open front to back 26. A beautiful vocal tone has a balance of bright and dark timbres known as ___. (Italian for “bright and dark”).* twang flow chiaroscuro 27. Vowels are altered by moving the ____. Dropping the ____ and creating more resonating space is necessary for higher pitches.* tongue, soft palate articulators, jaw lips, tongue 28. When singing from low to high pitches, the singer must maintain moderate ____ by moderating ____ via the muscles of ____. By not allowing air pressure and thus volume to be excessive, particularly when approaching the first bridge, the vocal folds can more easily ___ and ___.* phonation, appoggio, breath management, adduct and shorten volume, air pressure, appoggio, lengthen and thin air pressure, compression, volume, abduct and shorten 29. If a singer produces excessive ____ on the approach notes to the first bridge, it becomes difficult to transition to the upper register. To maintain even tone quality, a singer must maintain consistent ___ throughout the entire range. Good ___ is fundamental in maintaining consistent vocal fold compression.* volume and air pressure, vocal fold compression, appoggio pressed phonation, volume, chiaroscuro airflow, vowel, flow phonation 30. The problem with breathy singers often lies in ____ rather than breathing. This refers to the ____ of the vocal folds at the ___ of phonation. Adduction and closed quotient affect ___* support, approximation, end, vocal tone projection, closing, continuation, supraglottal air pressure valving, closure or adduction, onset, subglottal air pressure 31. Good breath management includes ___ the lower torso on inhalation and ___ the collapse of the torso. Breathy singers need to learn to valve better- to control the degree of ____.* lift, encourage, closed quotient push, eliminate, cord closure expanding, resisting, fold adduction 32. If the folds are not appropriately ____ to begin sound, and if adequate ____ is not maintained during phonation, excessive air escapes through the folds. The ____ controls air pressure, rather than the other way around. If the vocal folds are not appropriately ___, breathing is not going to improve the sound.* vibrating, compression, appoggio, vibrating abducted, open quotient, closure, phonating adducted, closed quotient, glottis, adducted 33. Appropriate vocal fold adduction is necessary in singing: too much adduction is ____. and too little adduction is ___. Excessive air pressure is damaging to the voice. However, a lack of ___ in singing produces a breathy, weak vocal sound.* hypo adducted, hyper adducted, focus hyper adducted, hypo adducted, physical energy pressed phonation, anemic, energy 34. Firm glottal closure at the onset of tone is necessary for efficient tone production. The ____ onset produces a weak and breathy tone. The hard attack can produce ____ if combined with excessive ___.* breathy, pressed phonation, air pressure hypo adducted, overcompression, lung pressure both of the above 35. The folds must be brought together to the ____ of the glottis to initiate phonation. The vocal folds are adducted or drawn together from the posterior (back) end of the larynx due to the approximation and rotation of the ____ as the lateral cricoarytenoid (LCA) and interarytenoid (IA) muscles contract. This process is also referred to as cord closure or ____.* center, vocal folds, adduction midline, arytenoid cartilages, medial compression opening, shoulders, abduction 36. The vocal folds vibrate open and closed many times per second in response to air flowing up through the trachea from below the glottis, or ____. When we swallow, the folds close so that food or liquids are more effectively directed toward the ____ or food tube. When we phonate (speaking or singing) the folds vibrate open and closed in a recurring ____.* supraglottally, trachea, cycles per second subglottally, esophagus, vibrational cycle supraglottaly, windpipe, vibrations 37. Vocal onset can be divided into three categories: 1. ____ ( breathy onset, weak lung pressure) 2. ____ (hard attack, excessively high lung pressure, pressed) 3. ____ or Balanced Onset (the healthiest way of singing- efficient glottal closure and adequate lung pressure).* hyper-adducted, hypo-adducted, balanced hypo-adducted, hyper-adducted, aspirate hypo-adducted, hyper-adducted, appropriately adducted 38. The exercises in Steps One through Five addressed the vocal challenges of each vocal category. We used exercises such as ____ (for breathy singers) or _____ onset (to help singers who over-adduct).In Step Six we move forward to the more advanced and healthier ____ onset.* consonants, vowels, adducted adducted onset, breathy, balanced breathy, voiced-stop, silent H 39. Hypoadduction is a breathy onset created with excessive ____ through vocal folds that are not sufficiently ____. The breathy voice is usually associated with a ___ and weak glottal closure, resulting in a sound that is anemic; this is typical of the ___ vocal category, and of the Unbalanced-Light Lower category in the lower register.* airflow, adducted, high larynx, undeveloped fluttering, closed, low larynx, undeveloped aspiration, vibrating, high soft palate, anemic 40. In Steps One through Five, we addressed the breathy onset with ____ exercises. These exercises encourage ___ muscle engagement to adduct the folds to counteract a breathy tone.* staccato, TA and CT 5-tone, TA and LCA adducted onset, LCA and IA 41. In Step Six we discontinue the adducted onset and move toward the balanced onset with the “silent H”___.* coup de glotte voiced-stop consonants staccato 42. The hyper-adducted or pressed onset is typical of the ____ category singer; the sound is forced, pressed, squeezed and over-compressed, with high subglottal ___. In Step Six, we move toward the ___ onset with staccato.* pressed phonation, lung pressure, abducted unbalanced-pulled lower, air pressure, balanced unbalanced-light lower, air blow, correct 43. With the ____ the folds are appropriately adducted, the subglottal pressure is not excessive, and there is firm glottal closure. The warm, powerful, ringing ____ (balance of bright and dark resonances) of a trained singer are a result of a balanced onset, a relaxed, low larynx, firm glottal closure, and sufficient ____.* balanced onset, chiaroscuro, appoggio adducted onset, squillo-oscuro, compression aspirate onset, twang, cord closure 44. Through vocal training, we create new ____ by vocalizing on a series of ___ exercises. Our goal is to develop ___ registration.* habits, spiral learning, correct neuromuscular responses, sequential skill-building, balanced tendencies, results oriented, upper TOOLS FOR TRAINING VOICES45. ____ means: with each sound or note sharply detached or separated from the others.* staccato legato vibrato 46. ___ means: sound is produced in a smooth, connected, flowing manner.* staccato vibrato legato 47. When singing staccato, we use the ___, which encourages a healthily balanced onset with no ___.* silent H, breathiness adducted, strain coup-de-glotte, effort 48. Efficient breath management in singing is all about creating a balance between ___ and the vibrating vocal folds. Staccato both requires and also encourages good ____.* air pressure, appoggio registers, adduction resonance, phonation 49. Appoggio is ___ the lower torso with the breath, then slightly firming the ___- muscles outward, subsequently maintaining that posture as long as possible. It is a feeling of ___: the ribcage; sternum and chest do not collapse.* lifting, tummy, activation activating, abdominals, energizing expanding, lateral oblique and transversus abdominis, suspension 50. ___ helps us find “just enough and not too much” engagement of the core muscles, resulting in appropriate vocal fold adduction at the onset of phonation and better appoggio, or support. To produce this correctly, the singer must apply the tenets of appoggio: 1. ____ is low, with a 360-degree expansion at the level of the lowest ribs. 2. After inhaling, the lateral oblique and transverses abdomens muscles should ____ slightly. 3. This position is maintained throughout the performance of the staccato exercise. * Remember- when performing staccato, all the H’s are ____!* appoggio, exhalation, up and in, clear support, suspension, expand outward, clean staccato, inhalation, firm outward, silent 60. In Step Six, at this more advanced stage of vocal development, we ____ the tools or “helpers” used in previous steps. For example, students at this level should no longer need the ___ or coup-de-glotte used in prior steps for vocal fold adduction. Voiced-stop consonants such as G, B, and D, used in prior steps to encourage better ___, can be eliminated in this step. We also move past the Temporary Sounds (pharyngeal, imposed larynx) that require a ___ that is higher or lower than speech-level.* increase, balanced onset, compression, jaw position activate, staccatto, release, timbre eliminate, adducted onset, vocal fold adduction, laryngeal position 61. When we eliminate the "helpers," we rely on a balanced onset to ___ tone.* phonate initiate aspirate 62. The term “flow phonation” is used to describe a way of singing that feels effortless. It can have the effect of ____ the vocal folds. Flow phonation can enable singers to generate maximum sound with minimal ____. When dynamics, and thus airflow, change to meet the requirements of the music, adjustments are made without engaging _____.* exacerbating, adduction, intrinsic muscles un-pressing, effort, extrinsic muscles vibrating, air pressure, appoggio 63. Flow phonation encourages chiaroscuro- the balance of bright and dark resonances- because it produces more of the higher ____ in the voice source spectrum. Flow phonation is considered healthy phonation because it requires low ___ and thus is unlikely to result in vocal damage. It requires a lower ____ .* partials, effort, open quotient harmonics, sub-glottal pressure, closed quotient frequencies, adduction, breath pressure 64. Dr. Ingo Titze states “With flow phonation, the implication is that more airflow produces more sound output, but every singing teacher and speech-language pathologist knows that excessive flow makes the voice breathy and weak. It is, therefore, a question of optimizing the airflow, not maximizing it”. _____ must balance.* lower and upper register formants and harmonics airflow and glottal closure 65. Flow exercises are very helpful in counteracting over-compression and ____, but for singers who are already breathy and weak, it is much more effective to use exercises that focus on ___. Flow phonation enables singers to generate efficient sound without vocal damage, due to appropriate levels of airflow, low ____, and balanced onset.* abduction, appoggio, phonation threshold pressed phonation, vocal fold adduction, sub-glottal air pressure strain, release, adduction 66. With flow phonation, the vocal folds adduct largely as a result of the ____ lowered air pressure drawing the folds together. It works like this: airflow traveling through the folds causes a pressure drop. The decreased _____ sucks the vocal folds together. Subsequently, sub glottal (below the vocal folds) air pressure then increases and forces the folds open again.* Brentano Result, flow Bernoulli Effort, appoggio Bernoulli Effect, air pressure 67. Flow phonation is characterized by a lower ___ (the amount of times that the vocal folds are together in the cycle of open/closed) compared to pressed phonation. However, flow phonation closed quotient is higher than that typical of ____ phonation.* open quotient, pressed vibrational rate, balanced closed quotient, breathy 68. Flow phonation encourages a higher _____ amplitude in the voice source spectrum than does pressed phonation. Flow phonation encourages ____ due to the high level of upper partials in the voice source spectrum.* fundamental frequency, chiaroscuro H1, squillo-oscuro both of the above 69. Singers in the ____ Category are most likely to benefit from flow phonation work.* Balanced Unbalanced Pulled Lower Unbalanced- Light Lower LEARNING THE STEP70. OBJECTIVES OF STEP SIX: The singer will develop a ___ onset. Staccato encourages ____ vocal fold compression and balance between air pressure and the vibrating vocal folds. In the Eliminating the Helpers section, we discontinue the use of any device to encourage _____, and focus on the balanced onset with _____.* adducted, increased, registration, consonants correct, decreased, abduction, vowels balanced, moderate, adduction, vowels 71. The silent H is not a ___ with excess air escaping; nor is it a ___. The silent H encourages a healthily ___ onset.* breathy sound, hard attack, balanced hypo-adducted, hyper-adducted, appropriately adducted both of the above 72. With the “silent H” onset rather than a ____ one, there is no perceptible ___ in the sound. Staccato requires consistent ___. Staccato also develops better ____ and register balance.* adducted, quality, compression, appoggio breathy, breathiness, appoggio, pitch control hypoadducted, difference, focus, compression 73. Appoggio is delaying the ____ of the torso as long as possible. Appoggio is expanding the torso, then slightly firming the ____ abdominal muscles. It is a feeling of ____.* expansion, upper, holding collapse, lateral, suspension firming, abdominal, locking 74. When you say MMM, you are using a slight ____. Now, take another breath, expanding and then slightly firming, and this time say “HMM-HMM-HMM-HMM-HMM” as if you are laughing quietly to yourself. This is the ___.* coup-de-glotte, "silent "H" attack, balanced onset both of the above 75. The abdominals neither pull up and in nor push outward; they maintain the expanded position of ___. This is the idea of “pushing and pulling at the same time”- maintaining a balance between opposing muscle groups using ____ muscle engagement.* exhalation, opposed inspiration, pugilistic inhalation, antagonistic 76. Staccato means “____”. When singing staccato exercises, remember the ___ is a “silent H”. You should feel a slight ____ of the lateral abdominal muscles when performing staccato exercises.Staccato exercises create a better balance between the air and the vocal folds. They encourage moderate ____. Continue to use the palm of the hand on the chin and the thumb and finger on either side of the mouth to prevent ____. Continue to use the SLaS _____ for stability and support.* short and attached, start, locking, transition, grinning, exercises energized and supported, sustain, engagement, volume, flipping, approach short and detached, onset, firming, compression, spreading, Breathing Belt 77. Eliminating the Helpers: With these exercises, we use vowels and a balanced onset, eliminating the "helpers" of previous steps that encouraged ____, such as coup de glotte and voiced-stop consonants.* appoggio clarity vocal fold adduction 78. Beginning with Step Six we no longer progress through Rounds (beginning, intermediate, and advanced). Instead, we are developing ___.* skills habits registers EmailThis field is for validation purposes and should be left unchanged. Δ YOU can Sing Like a Star Table of Contents
