Step 2 Exam Name* First Last Email* HOW YOUR VOICE WORKS1. The voice is a system made up of the _____, _____, and ____ components.* respiration, phonation and vibration respiration, resonation and breathing respiration, phonation and resonation 2. The vocal folds are part of the ___ system, also known as the “vibrator”.* resonation vibration phonation 3. The phonation component of the voice system is comprised of the vocal folds, made up of ____, ____, and ___, and of the larynx (pronounced LAIR-INX, not LAIR-NIX), a housing structure surrounding the vocal folds, made of ____ and ____.* muscle, ligament, and mucosa; cartilage and muscle cords, ligament, mucus; bone and cartilage ligament, cartilage, and mucus; muscle and bone 4. 1. The vocal folds, often referred to as vocal cords, sometimes incorrectly spelled as vocal "chords", are, attached to the ____ cartilage in front and to the ____ cartilages at the back. When we inhale they open in a V-shape with the wide part of the V at the ____.* cricoid, thyroid, front arytenoid, cricoid, back thyroid, arytenoid, back 5. The vocal folds are comprised of three layers; the first two layers together make up the ____ the loose structure most involved in vocal fold ___ . This type of tissue needs to be ___ to be healthy.* mucosa, vibration, moist ligament, closure, exercised body, adduction, approximated 6. The outermost structure of the mucosa contains the ____, which is similar to the layered and scale-like loose skin on the back of the hand. This is the covering of the vocal folds and is the area of contact between the two folds. It acts as a capsule, forming the folds into shape.* epithelium ligament mucosa 7. The third layer is known as the vocal _____. It is made up of the intermediate lamina propria and the deep lamina propria. This layer provides vocal fold elasticity and tension.* ligament epithelium mucosa 8. The inner layer is known as the ________ and is comprised of the _____and _____ muscles. It helps to close the ____ and regulate tension in the vocal folds during speaking or singing.* epithelium, CT and vocalis, glottis vocalis, TA and CT, cords body, TA and vocalis, glottis. 9. The intrinsic muscles are those within and around the ____.* vocal folds adams apple larynx 10. The vocal folds are open or _____ for inhalation; When we speak or sing the folds should ___ or come together. apart, close adducted, abduct abducted, adduct 11. The thyroarytenoid (TA) muscle ___ the vocal folds.* abducts, shortens, and thickens closes, lengthens, and thins adducts, shortens, and thickens 12. The CT or cricothyroid muscles ____ the vocal folds by tilting the ____ cartilage downward.* stretch, cricoid elongate, thyroid shorten, thyroid 13. The IA (interarytenoid) muscle draws the ____cartilages together, bringing the vocal folds to the midline.* cricoid arytenoid thyroid 14. The LCA (lateral cricoarytenoid) muscles rotate the arytenoid cartilages, assisting the process of vocal fold adduction by creating ____ compression.* longitudinal midline medial 15. The PCA (posterior cricoarytenoid) muscles ______ or ______the folds.* abduct or open adduct or close lengthen or tense 16. _____ is the relationship between the amount of time the folds remain closed and the amount of time they are open during the vibrational cycle, usually expressed as percentage.* adducted quotient open quotient closed quotient 17. Onset refers to the manner in which phonation is ____.* ended initiated produced 18. Inadequate vocal fold closure produces a breathy voice due to excessive airflow through the _____.* larynx glottis ligaments 19. To counteract inadequate fold closure, we use adducted onset or _____; voiced-stop consonants like ______; the ____ exercises, and the ____ exercises* hold, Z, V, F, fricative, long scale SOVT, S, Q, T, adduction, release coup-de-glotte; G, B, D; creak; staccato 20. During efficient vocal production, the ______ and ______ muscles cause the arytenoid cartilages to approximate, swivel, and rotate, bringing the vocal folds to the midline.* TA and CT LCA and IA TA and Vocalis 21. In the lower register, the vocal folds are thicker and shorter due to thyroarytenoid (TA) muscle activity. As they contract, the _____muscles bulge the fold body outward into the _____.* LCA, glottis IA, larynx TA, glottis 22. To sing higher pitches, the ____ muscles lengthen the folds and make them tauter by tilting the ___ cartilage forward and down.* thyroarytenid (TA), cricoid cricothyroid (CT), thyroid lateral cricoarytenoid (LCA), arytenoid 23. A singer who extends the lower register beyond the first bridge with excessive breath pressure then flips to falsetto is in the ___ category.* Unbalanced- Light Lower Unbalanced-Pulled Lower Undeveloped 24. Changing pitch involves changing the rate at which the glottal wave repeats as a result of the ever-shifting changes in the ______ and _____ of the vocal folds.* length and tension depth and tautness flexibility and thickness 25. Vocal range is determined primarily by the size of the vocal folds. The longer the potential extended length of the vocal folds, the _____ the potential range.* higher lower stronger 26. The continually repeated cycle of opening and closing of the vocal folds is known as the ____; this converts airflow into an ___ signal.* vibration rate, aerodynamic vibratory cycle, acoustic vibratory repetition, Hertz TOOLS FOR TRAINING VOICESCONSONANTS27. A consonant is a sound articulated by either complete or partial closure of the _____. Articulation for consonants is achieved primarily by the ____ and _____.* adams apple, tongue and teeth vocal folds, jaw and mandible vocal tract, lips and tongue 28. ____ in singing is improved with crisp consonant pronunciation.* articulation diction pronunciation 29. Consonants that create the most obstruction (voiced-stop consonants like G, B, D) are helpful in counteracting _____ singing. Consonants that create the least obstruction (voiceless fricatives like H and WH) are helpful in counteracting _____ singing.* breathy, strained soft, pushed anemic, forced 30. Consonants govern _____ in singing and speech; they can increase, reduce, or stop _____. This affects vocal fold ____ and, consequently, vocal tone.* diction, diction, closure flow phonation, flow phonation, abduction airflow, airflow, adduction 31. The aspirate consonants such as S, SH [ʃ], and H are _____ and encourage airflow. For singers who strain (Unbalanced-Pulled Lower), substitute these consonants to encourage _____.* voiced, release unvoiced, release aspirate, release 32. Voiced-stop consonants such as G, B, and D interrupt the ____ completely, creating better vocal fold _____.* airflow, adduction phonation, hold diction, power 34. Nasal consonants such as NG, MM, [ŋ] (sing), [ny], onion, as well as fricatives like ZZZ, [Θ] (the), and [ʒ] (azure) help to provide moderate compression and balance between air pressure and vocal fold adduction. These consonants are “_____ consonants.” * moderate adduction midline compression friendly compression 35. In addressing vocal _____, we apply an equal and opposite consonant tool to counteract incorrect phonation.* tendencies habits problems All of the above 36. For example, if your student is breathy and weak, start with consonants that provide the most vocal fold _____(glottal closure) such as G,B,D* connection adduction registration 37. Substitution of ____ consonants like ZZZ for ____ consonants like SSS can help create more consistent adduction and legato.* voiced, voiceless (aspirate) phonated, silent buzzed, released 38. When designing lesson plans, assess your student's vocal production to see if they need consonants that ____ airflow for better fold adduction, consonants that ______ airflow, best for reinforcing balance, or if they need to counteract strain by ____ airflow with the voiceless glottal fricative consonants.* interrupt, reduce ,increasing produce, increase, decreasing silence, produce, increasing TEACHING THE STEPSTEP TWO OBJECTIVES39. The student activates and develops TA (thyroarytenoid muscle) dominant lower register singing, with appropriate vocal fold adduction, clarity, and ____. (Singing at soft dynamics is a more challenging skill that we will cover in Step Seven).* production volume projection 40. The student sings with a slightly _____ larynx in the initial exercises to counteract laryngeal hiking and extrinsic muscle activity.* imposed neutral raised 41. The student performs ____ exercises, only if necessary, to improve vocal fold adduction.* coup-de-glotte SOVT register connection 42. If the student's category is Unbalanced-Pulled Lower, you won’t need to linger on this step. If they are in the Undeveloped or Unbalanced-Light Lower categories, you will need to work through all the exercises including the ____ exercises.* pharyngeal adducted onset imposed larynx 43. Be sure you stay below the first _____. Don’t take these exercises too high!* bridge transition primo passaggio all of the above 44. The objective for the Undeveloped and Unbalanced- Light Lower category singer is more efficient vocal fold ____ and greater _____ quotient (the amount of time the folds stay closed in the cycle of open/closed). This breathy singer usually needs more energy and increased ______.* phonation, approximated, power vibration, open, release adduction, closed, appoggio 45. ORDER OF PRIORITIES. Activation (Round One- Beginning): The student sings with projection and clarity in the lower register using a slightly ____ and relaxed larynx with the Easy Call exercises. Some singers will need additional work on vocal fold _____ with the adducted onset exercises.* low, adduction neutral, strength hooty, closure 46. Development (Round Two-Intermediate): We introduce the ____ vibrato for increased strength and balance. Some singers will need additional work on vocal fold adduction with the adducted onset and ____ Voce di Strega (witchy) exercises.* pulse, pharyngeal beginning, imposed bouncy, witchy 47. Advanced Round Three exercises include the introduction of _____ and _____ _____ Magic of MM exercises for balanced onset.* imposed, moderate compression pharyngeal, creak creak, moderate compression 48. THE EASY CALL EXERCISES- The student’s larynx should be relaxed and slightly _____; the sound should be clear and ____, rather than breathy or weak.* low, projected neutral, easy high, soft 49. The starting pitch for the Day Call exercises is ___for men and _____ for women.* Bb3, Eb4 Bb4, Eb4 G3, G4 50. If the student is breathy and weak (Undeveloped, or Light Lower) they will also need the adducted onset exercises in addition to the Easy Call exercises. _____ singers do not need adducted onset exercises.* Unbalanced- Light Lower Unbalanced-Pulled Lower Balanced 51. Once the student has progressed through the exercises in Rounds One and Two they are ready for the Moderate Compression Magic of M exercises that encourage a more balanced onset and moderate compression. The Moderate Compression exercises can be sung ______ or clean.* creaky edgy dirty 52. TEACHING TIPS APPOGGIO: Use the first _________________ of each lesson to do a short breathing and appoggio, stretching, or posture exercise.* 20 minutes Few minutes 15 minutes 53. MOUTH POSITION: Have them place the _____ on the chin, with the thumb and index finger on either side of the corners of the mouth to prevent spreading. The other hand is on the ______ with the thumb to the back to monitor expansion.* palm, waist tongue, abdomen hand, tummy 54. If the sound is breathy or raspy, there is an _____ between air pressure and the vocal folds.* imbalance relationship problem NameThis field is for validation purposes and should be left unchanged. Δ YOU can be a Successful Voice Teacher Table of Contents
