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 TA-dominant belt sound too high; a ___ can sound like belt. To find belt voice, vocalize on ___.* head-mix, "w[o]" 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, hiking jaw, lowering larynx, wide 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 soft, head voice conversational, 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 might activate more energetically. Back off the ____ to get a better balance between the vocal folds and air. Instrumentalists should avoid jutting the ___ forward toward the mic. The _____ exercises in Step Seven are great for rock singers.* dynamics, support, microphone, chin, flexibility artistry, jaw, volume, chest, vibrato vibrato, appoggio, air pressure, head, power 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 and the ____ R.* stories, conversational, diction, closed, retroflex tales, emotional, pronounciation, high-tongue, rolled information, melismatic, emotion, important, trilled 12. Traditional country singers use more ____ in their sound, emphasize secondary ____ vowels (whyeeeee-ohoooooo-whyeeeee), 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 ____ 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 ___ 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 all of the above 20. A connection to the text shows up in the _____.* performance eyes face all of the above 21. The "who, what, when, where, why" questions make the ____ personal.* lyric melody harmony 22. T____ is a useful tool in preparing a performance. Self-analysis is vital.* audio feedback video 23. A singing actor always has an ____.* subjective opinion objective 24. Subtext is the underlying ____ of the text.* analysis interpretation breakdown 25. A professional ___ everything, over and over. They don’t just wing it.* thinks about ignores rehearses 26. Use the ____ concept; keep the eyes ____ and ____.* 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: ____, ____, and _____.* 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. A professionally executed bow will ___ the performance.* finalize negate enhance TEACHING 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 a ____ approach and less ___. Singing hard and loudly makes it more difficult to develop the 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 a tool such as _____.* 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 ____ students learn.* auditory, analyzing, learning, quickly artistic, learning, representing, impressively visual, physicalizing, notation, effectively 35. 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 singing or teaching scales, riffs, and runs ___ 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 ____. This technique is called ___.* end, decrescendo, power, mezza voce start, swell, skill, mezza di voce begin, crescendo, control, messa di voce 39. Vary dynamics, creating phrases that range from very soft (____) to medium loud (_____) to very loud (____). Increasing volume is ____, decreasing volume is ____, and create a swelling effect from the softest dynamic you can sing to the loudest, and back to the softest is called ____.* 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 ____ styles.* 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 styles.* improve and allow choose and interpret execute 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.* 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 irritating 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 learn to scream, start with an easy ____. The vocal folds are creating a minimal amount of ___ with this exercise. Don’t add too much ___.* creak, compression, air pressure hum, force, energy glide, vibration, force 50. Jazz singers use back-phrasing: instead of starting a phrase right on the ____, they begin the phrase late, stay behind awhile, and then catch up. In jass, the delivery is more ___ and less sing-y. Pitch variation is _____ notes. Rhythm variation means _____ different notes.* 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 distortion and other texture choices are occasional rather than habitual. Use them as _____, rather than the main course. Keep the voice _____ most of the time, with the occasional “garnish” 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. This is the intended ____ behind a spoken or sung phrase.* dynamic, meaning, emotion subtext, emotion, meaning emotion, subtext, meaning 54. In Step Eight, singers learn the ____ scales and riffs associated with those scales. The singer will learn to use ___ choices and to become an ____ with various acting exercises. They learn basic stage ____ and movement.* flexibility and dynamics, subtext, actor, movement major and minor, subtext, actor, dance 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.* pitch, extensively interpretation, daily intonation, slowly 56. Flexibility requires a lighter coordination of the vocal folds and less air pressure. Backing off on _____ makes riffing much easier.* power and energy force and intensity volume and air pressure 57. Riffing is not just about speed- it’s about speed combined with _____.* 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 be a Successful Voice Teacher Table of Contents