Step 8 Exam Name* First Last Email* HOW YOUR VOICE WORKS1. Contemporary music includes a great deal of style ___.* contrast cross-over similarity 2. Small adjustments in laryngeal height can make a difference in the ___. ____ vibrato is common in theatre and jazz singing. Style is acquired by listening to and ____ many different artists representative of each style. Diction and ____ also contribute to making the sound more authentic.* resonance, interpretation, consistent, listening, pronounciation tone color, delayed, imitating, dialect placement, believability, faster, analyzing, pronounciation 3. For healthy singing and longevity don’t take a yelled belt sound higher than their first bridge; a ___ can sound like belt. To find belt voice, vocalize on ____.* chest-mix, "hey" and "yeah" light mix, y[i]and y[u] chest-mix, "hey" and "yeah" 4. In belt, the ___ is higher than the neutral, speech level position. The mouth is ___.* soft palate, hiked jaw, lowered larynx, wider 5. Legit musical theatre style is similar to ____ singing but less dramatic than opera. Compared to pop singing, the larynx is ___, the lips are more ___, the singer bridges ____ and ___ is more constant.* jazz, higher, back, sooner, hoot classical, lower, forward, earlier, vibrato musical theatre, neutral, relaxed, vibrato 6. In jazz style, ___ or scatting ability is important, the tone quality is more ___, instead of coming in on the beat, singers use ___, and ___ rhythms are common. Jazz songs that everyone sings are called __.* conversational, improvisational, downbeat, professionalism, songs improvisational, conversational, back phrasing, syncopation, standards singing, resonant, interpretational, conventionalism, tunes 7. In pop style, the lower pitches are ___ and the high notes require a strong ___.* powerful, lower register mix soft, upper head voice conversational, upper register mix 8. To have a long-term career in rock singing, sing with moderate ___, particularly when singing with _____.* volume, distortion energy, air blow force, interpretations 9. In rock, ____ is often non-existent or minimal. For harder rock singing, the ___ muscles are working more energetically to help provide support or appoggio. Back off the ___ to get a better balance between the vocal folds and air. Avoid jutting the ______ forward. The _____ exercises in Step Seven are great for rock singers.* dynamics, support, microphone, chin, flexibility artistry, jaw, volume, chest, vibrato vibrato, abdominal, air pressure, head, volume 10. A good R&B singer needs to be able to execute riffs and runs rapidly and with good ____. Riffs in this genre come from the blues and ___ scales. Style develops from listening to and ___ other great singers.* flexibility, 5-tone, analyzing intonation, pentatonic, imitating intentions, minor, imitating 11. Country songs are about telling great ___, so the singing is very ____. ___ is an important element of country singing; singers emphasize the more ____ secondary vowels of diphthongs.* stories, conversational, diction, closed tales, emotional, pronounciation, high-tongue information, melismatic, emotion, important 12. Traditional country singers use more ____ in their sound, emphasize secondary ____ vowels, and never pronounce ____ G’s. Many country singers ____ their own songs. Becoming a great ____ can often be a singer/songwriter’s ticket to fame.* nasality, diphthong, final, write, songwriter squillo, closed, beginning, interpret, artist oscuro, diphthong, ending, write, artist 13. In all styles of music, spend lots of time ___ artists of all eras, not just the current stars. Singers with solid and developed ___ can imitate any artist.* copying, skills analyzing, style imitating, vocal technique 14. Style is like a spoken ___. No two singers ever sound exactly alike; every singer uses the building blocks of riffs, runs, scales, and other style conventions in their own unique way to express ____ and to communicate with an audience.* interaction, feelings sounds, yourself language, emotion 15. Professional singers vocalize on ___ daily. ____ practice sessions, and then analyze. ____ with many different styles.Identify the _____ of the song. Create a ____ with the voice. Don’t be afraid to sound ____.* songs, pay attention to, play, mood, emotion, good vocalizes, video, experiment, feelings, intention, good exercises, record, experiment, emotion, mood, bad TOOLS FOR TRAINING VOICESBECOMING A TOTAL PERFORMER: ARTISTRY16. Audiences come to a performance or buy a song because they want to ____ something- they want to be moved. The ability to move an audience is what distinguishes an ____ from someone with a great voice who, though they may sing technically well, is not yet an artist. Artistry is the ability to always be absolutely in the _____, believing every word you are singing, with absolute control of a voice that responds readily to every emotion.* experience, beginner, song feel, artist, moment own, amateur, feeling 17. A singer needs to ____ the song, to feel that the lyrics are coming from their heart. A great singer is also a convincing ___. Unless you can use your body, face, and gestures ____, your beautiful voice will not move the audience. Singers must learn to act convincingly, and that requires a complete commitment to the ____. An artist must give a completely original and fresh ___ of the song. A singers’ interpretation must be ____ to them, and different from the original.* interpret, artist, artistically, song, performance, original learn, musician, uniquely, mood, interpretation, unusual personalize, actor, believably, text, interpretation, unique 18. To connect to the text, separate the lyrics from the music and convincingly and emotionally ___ without the help of the music, just like speaking lines in a ____.* act the text, play interpret the words, monologue both of the above 19. Song peparation includes ___.* writing practicing imitation 20. A connection to the text shows up in the _____.* performance result face 21. The "who, what, when, where, why" questions make the ____ personal.* lyric melody harmony 22. _____ is a great tool for working on acting skills.* audio feedback video 23. A singing actor always has an ____.* subjective opinion objective 24. Subtext is the underlying ____ of the text.* emotion interpretation feeling 25. A professional ___ everything, over and over. They don’t just wing it.* plans ignores rehearses 26. Use the ___ concept and keep the eyes ____ .* third wall, closed fifth wall, on the ceiling fourth wall, up and out 27. There are three points of focus on the imaginary Fourth Wall: ___ .* down, up, and center center, right, and left front, back, and down 28. The simple ___ choreography can get you started with stage movement. Always remember to ____ before you walk. Lead with the ____ foot if you are crossing stage right.* back and forth, think, left zig-zag, look, right up and down, stop, outside 29. Wrapping up your performance with a professional bow will ___ the entire experience for the audience.* finalize negate enhance LEARNING THE STEP30. The three most important elements of riffs and runs are intonation, flexibility, and speed. Intonation means singing _____. Being ____ (under the pitch) or ____ (above the pitch), even just a little bit, is the surest way to evoke a “cringe reaction” in the listener. The best way to make intonation precise is to learn and practice riffs and runs _____, then gradually increase the speed, paying attention to _____.* effectively, sharp, flat, quickly, tempo correctly, low, high, slowly, dynamics in tune, flat, sharp, slowly, intonation 31. Flexibility requires ____ coordination of the vocal folds and less ____. Singing hard all the time makes it more difficult to develop the lightness and flexibility needed to execute fast runs. Backing off on ____ and air pressure makes riffing much easier.* abducted, volume, speed increased, air, forcefullness lighter, air pressure, volume 32. Riffing is not just about speed- it’s about speed combined with ___.* flexibiltiy agility precision 33. If the run is long, break it down into chunks or ____ and practice each segment ___, over and over. Then, gradually increase the tempo, using ___.* pieces, gradually, Garage Band sections, incessantly, repetition segments, slowly, The Amazing Slow Downer 34. If a run is complicated and hard to remember, it might help to write a _____depiction on paper. ______ the run can help. A simple program like Finale Notepad is fine for ____. The more styles of learning you combine (visual, auditory, kinesthetic) the faster and more ____ you learn.* auditory, analyzing, learning, quickly artistic, learning, representing, impressively visual, physicalizing, notation, effectively 35. Learning the blues scales and the pentatonic scales develop the musical ____ to come up with your own riffs and runs. The pentatonic scale consists of ____ notes within one octave. The pentatonic scale can be played and sung in any ____.* skills, four, order phrases, six, manner vocabulary, five, inversion 36. The blues scale is similar to the minor pentatonic scale, with one added note- the ____. The b3, #4, and b7 are the _____ notes. Try to vary ____. When teaching the scales, riffs, and runs that follow please remember that, as always, ___accuracy is important. Start by singing each exercise very ____, then gradually work up to faster tempos.* b7, challenging, levels, speed, slowly #4, “blue”, dynamics, pitch, slowly b3, important, vibrato,note, quickly 37. Texture can be a ____ that embodies and represents a particular emotion. It can be ____ a certain way. To add texture, you should understand the subtext of the ____. Adding texture to singing creates a greater expression of ____.* phrase, improvising, words, musicality section, singing, phrase, artistry tone quality, phrasing, lyric, emotion 38. It is very effective (although vocally challenging) to be able to ____ a phrase with a breathy sound and then ____ into a powerful and clear sound. This takes a lot of ____ and great vocal technique!* end, decrescendo, power start, swell, skill begin, crescendo, control 39. Vary dynamics, creating phrases that range from very soft (____) to medium loud (___) to very loud (___) to create interest. Learn to get louder (___), get softer (___), and create a swelling effect from the softest dynamic you can sing to the loudest, and back to the softest (___).* piano, mezzo fort, fortissimo, decrescendo, crescendo, mezza di voice forte, messa forte, forte forte, crescendo, diminuendo, messa voce pp-pianissimo, mf-mezzo forte, f-forte, crescendo, decrescendo, messa di voce 40. Singers provide drama in performances by using contrasting ____ .* melodies, harmonies, flexibility, onset and vibrato interpretation, resonance, melody, rhythm, and vibrato dynamics, tone color, pitch, rhythm, and vibrato 41.Timbre is the ___ or quality of a musical sound.* tone color resonance placement 42. To sound authentic in contrasting styles, singers must learn to ___ vibrato.* improve and control choose and interpret control and vary 43. Higher _____ combined with increased ____ results in a stronger and more intense sound.* air pressure, closed quotient volume, energy pitches, appoggio 44. Distortion requires us to temporarily ____ the rules of good vocal technique that we have worked so hard to acquire. Before working on distortion choices, ____ should be solid. If you find that any of the distortion texture choices cause the voice to become ____, make different stylistic choices that don’t compromise the voice.* improve, voice, tired ignore, style, weak suspend, technique, hoarse 45. The creak encourages moderate ____. The creak is usually heard at the ____ of a phrase and indicates longing, love, sadness.* onset, ending vocal fold compression, beginning volume, beginning 46. Rasp, growls, and screams are ____ of the sound made by ___ across the back of the tongue, which is in contact with the back of the throat. The difference between growls and screams is that growls are _____ and screams are ______ in the range. Rasp is made by adding ___ to the vocal fold vibrational pattern. This results in an ____ that sounds along with the original tone.* improvements, movements, higher, lower, distortion, harmonic alterations, formations, louder, softer, creak, compressed distortions, blowing air, low, higher, turbulence, overtone 47. The growl, used in blues singing, R & B, gospel, rock, and some jazz, is made in the ____ of the throat and is used to initiate a phrase or sustained pitch. The growl requires a low ____.* back, larynx soft palate, throat constriction, tongue 48. The key to growling and screaming without tearing up the voice is to avoid ____ too forcefully. Never perform the scream or the growl at ____ volumes* inhaling air, soft pushing the air, loud singing, loud 49. To scream, start with an easy ___. The vocal folds create a minimal amount of ___ with this exercise. Don’t add too much ____.* creak, compression, air pressure hum, force, energy glide, vibration, force 50. Jazz style: Use back-phrasing: instead of starting a phrase right on the ____, start it late, stay behind awhile, and then catch up. Sustain- Make your delivery more ___ and less sing-y. Pitch variation: try ____ a few of the important notes in the chorus to add emphasis. Rhythm variation includes ____ different notes or phrases.* first beat, powerful, changing, avoiding pickup, sustained, eliminating, suspending downbeat, conversational, altering, accenting 51. Changing a melody's ____ from the original rendition can give a completely fresh perspective to a lyric.* notes, downbeats and emphasis melody, approaches, and volume pitches, accents, and rhythms 52. Make sure texture choices such as distortion are occasional rather than habitual. Use them as ___, rather than the main course. Keep the voice ___ most of the time, with the occasional use of texture.* embellishments, vocalized garnishes, balanced dessert, controlled 53. Texture must be chosen for a specific reason: to reflect a particular ___ in the song. To make those choices a singer needs to know what that emotion is. Going through lyrics and notating emotional ___ choices for each phrase of the song will be invaluable here. Subtext is the intended ____ behind a spoken or sung phrase.* dynamic, meaning, emotion subtext, emotion, meaning emotion, subtext, meaning 54. In Step Eight, you will learn the basic ____ found in much of today’s contemporary music.You will learn the ____ scales and riffs associated with those scales. You will learn to use ____ choices. You will learn to become an ____ with various acting exercises. You will learn basic stage _____ and movement.* acting exercises, flesibility and dynamics, subtext, actor, movement styles, riffs and runs, movement, subtext, actor, dance riffs and runs, blues and pentatonic, texture, acting artist, choreography 55. ___ means singing in tune. The best way to make intonation precise is to learn and practice riffs and runs ___, then gradually increase the speed, paying attention to intonation.* pitch, extensively interpretation, daily intonation, slowly 56. Flexibility requires lighter coordination of the vocal folds and less air pressure. Backing off on _____ makes riffing much easier.* power and energy force and power volume and air pressure 57. Riffing is not just about speed- it’s about speed combined with ___. A lighter approach will help.* precision power flexibility 58. If the run is long, break it down into chunks or ____ and practice each segment slowly. Then, gradually increase the ____.* segments, tempo portions, power measures, speed NameThis field is for validation purposes and should be left unchanged. Δ YOU can Sing Like a Star Table of Contents
