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 _____ and _____. 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. The folds open and close rapidly, converting aerodynamic energy to acoustic energy. When you sing a middle C, this happens 256 cycles per second, also known as _____.* approximation, Hertz vibrational wave, Hertz adduction, cycles 5. When you sing higher notes in your upper register, this vibratory pattern begins ____on the vocal fold. 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. 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 ____. The filter/resonator is the ____ that selectively boosts or damps partials (harmonics). 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 ____ .* volume amplitude subglottal breath pressure 8. The folds open and close rapidly, first resisting the air, which causes air pressure to increase below the folds, then bursting open, then closing again, partially due to the elasticity of the folds and partially due to the Bernoulli Effect. This process is called ___.* inertive reactance aerodynamic oscillation myo-elastic oscillation 9. Aerodynamic energy is converted to ____ energy or partials. Partials that are integer multiples of the fundamental frequency are called ____. Some of these can be boosted or amplified by their proximity to a _____, which is a pocket of air in the vocal tract that vibrates at different pitches or frequencies depending on its size and shape of the container of air.* 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, oral cavity 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 or partials including the fundamental, or basic pitch, and other overtones. 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 _____. We could say that harmonics are generated by the _____ because as the folds lengthen or shorten, pitch changes. 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. The higher that number gets, the further apart its multiples will be.* 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. 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, interval tone, lower, spaces 20. Resonance, in voice science, occurs in the _____ and refers to the relationships between harmonics and formants.* chest cavity vocal tract resonators 21. There are many varied definitions of formants in singing. the simplest one is "a formant is the pitch of the vibrating _____ in a _____".* frequencies, resonator hertz, tube air, container 22. The "containers" or resonators 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-the frequencies the vocal tract responds to the most. These 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. 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 the 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. The mouth container boosts the higher frequencies.* throat, larger pharynx, smaller mouth, smaller 30. The ___ divides the pharynx and mouth.* tongue constriction both of the above 31. Although they are always working together, F1, the first formant, resonates 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, larynx height higher, tongue forwardness lower, tongue flatness 35. A high tongue creates a ____ vowel and ____ F1 for more release or lack of strain.* closed, low open, high front, less 36. A low tongue creates an ____ vowel and ____ F1 for more "hold".* closed, low open, high front, release 37. Since ____ sizes vary, each person's first formant frequency when singing the same vowel will be different.* vocal tract chest 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 formants 3-5. 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.* 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 _____ .* 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. A TA-dominant vocal fold posture creates _____ 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. In the octave between approximately ____, pitches can be sung in various incorrect ways. This area is known as the _____. We can pull chest, flip, or bring the upper register too low, to name just a few. All these incorrect methods of producing sound have one thing in common: they 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 least ____ section of the voice. This is where ____ dominant phonation becomes ____ 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. In the first bridge or primo passaggio area, many contemporary singers tend to hold on to TA-dominant phonation too long when singing ascending pitches. This creates vocal ____. Eventually, there will be a significant break in the register as the voice flips into a breathy ____ .* strain, falsetto release, flip strain, falsetto 54. We must maintain even vocal fold compression and refrain from increasing air pressure as we sing higher to achieve ___: allowing the hand-off from TA-dominant to CT- dominant phonation, along with F1-dominant to F2- dominant resonance, by releasing “just enough and not too much” as we transition through the primo passaggio.* 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, twant 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 ___.* 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 ____.* abducted, closed quotient, yell, whoop adducted, open quotient, shout, whee unfocused, closure, scream, soprano 59. Flips are created by: pushing chest voice upward beyond the healthy transitional area of the ____; carrying the ___ vowel too high instead of modifying it to transition effectively through the bridge;opening the mouth too wide, grimacing with the lips, and raising the larynx, all in an effort to track _____too high; increasing ____excessively in an effort to raise the pitch;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;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. Imbalances that result in cracks, breaks, flips, and other vocal problems occur in the following ways: ____imbalance (formants and harmonics); coordination of the ___ muscles ;____air pressure vs adduction of the vocal folds imbalance. 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 handoff, 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 handoff 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; a narrowing of the aryepiglottic sphincter to create _____, the ringing, edgy, brassy quality needed in contemporary singing: ____ vocal quality; firm _____closure (not breathy);cooperation between ____ muscles; 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. These exercises help us find mix.* prevention occlusion shut down 68. the term "mix" refers to _____.* registration resonance vocal fold adduction all of the above 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 a relatively closed mouth and semi-occluded vocal tract is beneficial in learning to mix because this method of vocalization creates a ____ of acoustic energy or power while preventing singers from over-adducting the vocal folds as the pitch rises. The closed mouth helps the singer to transition from the _____ formant to the _____ formant.* feedback, first, second resurgance, second, first increase, first, second 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. This "bad belt" resonance strategy raises _____ frequencies higher to track the rising _____ 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 _____, 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. 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. Chorally trained female singers often take the opposite approach from the belters; they 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, creating an inefficient and breathy sound in the lower register. 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), ___ (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 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. If singers hold on to a TA-dominant vocal fold coordination and ____ coupling as pitch ascends, the tone begins to sound like yelling rather than singing. Laryngeal lifting happens when the _____ muscles engage.* F1/H2, extrinsic F1/H1, swallowing F2/H3/ tongue 79. When singers belt too high, eventually the TA muscles abruptly let go and the singer "flips" to suddenly lengthened and abducted vocal folds and ____ resonance. To transition smoothly, we need to keep the resonator "tube" in a ___ and consistent size and shape to decrease the potential for instability. Allowing the larynx to rise as pitch ascends creates the potential for ____.* F1/H2, neutral, flipping F1/H1, stable, instability head voice, 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 the singer progresses through the program after new ___ have been established.* unwanted outer, breathing, habits suprahyoid, extrinsic, coordinations interfering extrinsic, swallowing, neuromuscular responses 81. Beginning in Step Six, we eliminate the temporary extreme sounds like coup-de-glotte, vocal fry, twang, Voce di Strega (witchy) or imposed larynx (hooty), slowly working toward more speech-like sounds where the larynx is neither imposed nor high- it is comfortably ____ and ____.* relaxed and unmoving low and relaxed neutral and stable 82. The temporary sounds include: Semi-Occluded Vocal Tract (SOVT) Phonation (for _____ and balance): they 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, twang sounds are helpful in finding better ______ and accessing the upper register with 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 _____ that hike the larynx.* elevator strap muscles swallowing muscles both of the above 86. The friendly compression sounds encourage 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 epilarynx. Narrowing the _____ funnel decreases phonation threshold pressure through impedance matching of the glottal source and vocal tract.* 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 ____. When we swallow, the _____ muscles raise the larynx.* phonation, digastric breathing, strap swallowing, elevator 89. For the plethora of breathy students who “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”. (Richard Miller, The Structure of Singing Schirmer, 1986). Any tool used to excess 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. The key is always to find balance- “just enough and not too much” adduction as in all things.* sibilant voiced stop voicless fricative and 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.* air, vocal folds and air, loud breathiness, resonators, soft strain, registers, soft TEACHING 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 Five, for the first time, we differentiate the order of exercises, keys, and vowel-consonant combinations according to the student’s ____ to accomplish specific results.* tendencies habits vocal category all of the above 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. Then we want the singer to maintain that adduction as they sing higher.* adduction, higher, approximation approximation, lower, closure bottom-up, lower, vocal fold adduction 97. ORDER OF PRIORITIES for Undeveloped and Unbalanced Light Lower Categories: 1) ADDUCT: The first step is to increase _____ of the vocal folds in the lower register, then in the upper register. 2) REINFORCE and DEVELOP: Developing the _____ by increasing adduction and closed quotient, eventually matching the quality and power of the lower register. 3) CONNECT and BALANCE REGISTERS: Balancing the _____, so they sound similar in tone quality and power. 4) MODERATE COMPRESSION AND NEUTRAL LARYNX: Discontinuing the imposed larynx and pharyngeal sounds for a ______ laryngeal position. Creak, MM, and other sounds encourage an easy onset and moderate compression. At this point, we move away from temporary sounds to a finished sound- one that would work for songs. 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 the SOVT exercises (lip bubble, tongue trill), closed vowels that encourage a headier vocal production, consonants that allow more airflow, Imposed larynx sounds that counteract the tendency to engage the _____ muscles to hike the larynx.* 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) ____ 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 first top-down, then bottom-up;4) _____ eliminating the break, first with top-down, then bottom-up exercises. 5)_____-moving away from temporary sounds to a finished sound.* 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 Unbalanced-Pulled Lower: 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. 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; 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 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 NameThis field is for validation purposes and should be left unchanged. Δ YOU can be a Successful Voice Teacher Table of Contents
