Step 4 Exam Name* First Last Email* HOW YOUR VOICE WORKS1. ____ 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, 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, a process known as _____.* 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 ____ 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 moveable soft palate and tongue, along with the lips and jaw opening, form various vocal tract shapes. The soft palate _____ when we yawn and sing "hooty" sounds, and it _____ when we sing nasalized sounds.* rises, lowers 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. Hypernasal 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 we _____ the soft palate too much.* hyper, 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 the 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 partially 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 downward 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 the 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.* central, 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 (free) Resonance: Sympathetic resonance occurs when there is no physical ____ between two bodies but the second resonator responds to vibrations received through the air from the first.* 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 shape of the container 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, soft palate and lips jaw, velum and mandible 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 oral cavity 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.* 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. Our ears are not only hearing the fundamental; they are also hearing multitudes of other frequencies known as ______.* 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 56. The singer’s perception of resonance transfer and split resonance, though not scientifically accurate, can be tremendously helpful ____.* imagery information perception 58. For sensation-based singers, concepts based on ______ experience such as split resonance and resonance transfer can be helpful. This perception-based approach might be a good ____ 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.* 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 known as _____.* 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, open approximation, touch 67. The trained contemporary singer can produce four different modes in the upper register based on factors such as onset, vocal fold adduction, TA activity, closed quotient, and harmonics: ____, _____, ____, and ____.* falsetto, lower mix, upper mix, belt head, head belt, mix, belt falsetto, head, fluty mix, brassy mix 68. Falsetto is weak and breathy, with inefficient _____ and low _____; the folds are ____ in the aspirate onset.* 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, balanced 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 used by 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.* frequencies and harmonics, power overtones and partials, crescendo formants and 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 _____. 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, start the scale in a key that 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 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 either create more ____ or more ____.* power or dynamics beauty or projection release or hold 79. The 5-Tone Ascending 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. The 5-Tone Descending Scale in the upper register 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 develop the ability to sing comfortably in TA- dominant lower register and CT-dominant upper register phonation _____ before attempting to blend or mix.* separately independently both of the above 82. Bottom-Up Scales: Starting the scale in the lower register encourages increased vocal fold ____. These exercises should begin with 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. Repeater and Repeater with Sustain Scales: These bottom-up scales develop greater strength in the ____ register.* upper blended lower 84. 1-5-3-8-5 scale creates a better _____ between registers and develops vocal ____.* connection, training balance, flexibility transition, balance 85. The 1.5 Long 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 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. Top-down scales, combined with ____ vowels, adducted onset, staccato, or ____ consonants create more vocal fold adduction (hold) in the upper register which is then blended downward to eliminate the break at the primo passaggio or first bridge.* front, glide back, aspirate open, voiced stop 89. The Flexibility Scales develop the vocal agility to execute runs, trills, and stylistic ____ singing for singers who want to riff and run. They are also important for singers of every genre and style to maintain vocal balance and the health of the voice.* melismatic flexible powerful 90. The blues and pentatonic scales develop the ____ necessary to execute runs, trills, and stylistic melismatic singing for gospel, R&B. 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 TEACHING THE STEP91. OBJECTIVES OF STEP FOUR: Further development of _____ lower register phonation and______upper register phonation separately, increasing the student’s ability to access the lower and upper registers at will.* TA-dominant, CT-dominant modal, thin folds both of the above OBJECTIVES BY VOCAL CATEGORY92. In Step Four, 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, four the Round One exercises.* depressed imposed submerged 94. In Step Four, the 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 power, 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. In Step Four, the tone produced in the lower and the upper registers is equally clear and strong. 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 activation 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 ___, and a balance between the ____. In step 4 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, [u], [ʊ], and [o]. All other vowels are made by positioning the _____. The mouth should remain ____, never widening to a grimace.* central closed, mouth, relaxed back rounded, tongue, neutral front open, 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 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 the student places 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. Remind student to expand the midsection, front, sides, and back, during inhalation, and to maintain outward firmness against the breathing belt as they sing. The is 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 ____ on both low and high pitches.* released and projected balanced and unstrained clear and strong 112. The constriction of the tongue should be high and forward for the [i] vowel. If the sound is muffled or the [i] is not correct, have the student 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 students 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.* vibration oscillation fold adduction 115. In the beginning, you will spend most of the lesson on ____ until the student can mix. This means they can ____ pitch in the upper register in a mix. 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 can feel a vibration in the chest cavity, which disappears as you sing higher. This vibration is due to _____ resonance.* 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 ____ and _____.* lower register and upper register modal and upper register thick folds and thin folds all of the above EmailThis field is for validation purposes and should be left unchanged. Δ YOU can be a Successful Voice Teacher Table of Contents
