Welcome Exam Name* First Last Email* HOW YOUR VOICE WORKS- THE SLaS METHOD1. The Eight Steps of Vocal Development method is based on the ideal of balanced ____.* registration TA and CT muscle interaction air pressure and vocal fold resistance resonance (chiaroscuro) all of the above 2. We base instruction on the ____ ____ model, repeating concepts many times, but at higher and higher skill levels.* repetitive instruction spiral learning warmup and cool down 3. Our motto is “____repetition over time leads to automatic___, which lead to ____!”* constant, improvement, happiness occasional, changes, improvement focused, good habits, success 4. SLaS Spiral Learning is: ROUND 1 BEGINNING: ___ ROUND 2 INTERMEDIATE: ___ ROUND 3 ADVANCED: ___* exploration, repetition, review discovery, development, habit imitation, repetition, analysis 5. The Eight Steps of Vocal Development is a ___ ___ ___ program.* developmental voice training sequential skill building daily practice requirement 6. In Step 0: Assessment and Diagnosis we determine the student’s ___ ___ as compared to the optimal ____singer. * vocal challenges, gifted vocal objectives, advanced vocal category, balanced 7. Some singers are too heavy in the lower register (Unbalanced-__), some are too light in the lower register (Unbalanced-___) and some are generally breathy and weak in both registers (___).* light lower; pulled lower; balanced pulled lower; light lower; undeveloped heavy lower; breathy lower; weak 8. We make that determination based on hearing the student sing basic __ and ___ assessment scales and a song, The Star Spangled Banner. * assessment & diagnosis 5-tone & octave evaluation & assessment 9. Assessment is where we determine what is occurring in the student’s voice in: a. The ___ register. b. The ___ register. c. How the student transitions through the____or first ____. d. The current degree of balance between the ____.* a. bridge b. upper c. Lower or first octave d. articulators a. upper b. lower c. break or flip d. resonance a. lower b. upper c. passaggio or first bridge d. registers 10. IN STEP 1: BREATH MANAGEMENT we lay the foundation of good singing with ___, ___, ___ and ____techniques.* range extension; vowel; diction; breathing breath management; appoggio; posture; stretching diaphragm control; ribcage; abdominal; projection 11. IN STEP 2: ACTIVATE AND DEVELOP THE ___ REGISTER (__DOMINANT PHONATION) we focus on the area of notes below the __ dominated by the ____ muscles.* head; CT; transition; TA chest; CT; transition; TA lower; TA; primo passaggio; TA 12. One objective of Step 2 is to sing ___ and with a modicum of ____, rather than timidly, breathily, and weakly.* forcefully; adduction easily; precision clearly; projection 13. IN STEP 3: ACTIVATE AND DEVELOP THE UPPER REGISTER (CT DOMINANT PHONATION) we focus on the area ___ the primo passaggio (first bridge) dominated by ___ muscles.* within; TA approaching; CT above; CT 14. One objective of Step 3 is to sing ___ and with a modicum of ___, rather than timidly, breathily, and weakly.* forcefully; adduction easily; precision clearly; projection 15. IN STEP 4: ISOLATORS- FURTHER DEVELOPMENT OF _____ AND _____ Registers Separately we firmly establish and further develop the ___ dominant lower register and the ____ dominant upper register in isolation.* mixed; upper; TA; CT chest; head; TA; CT lower; upper; TA; CT 16. IN STEP 5: REGISTER CONNECTION WITH TEMPORARY SOUNDS we connect the lower and upper registers and the student begins to mix. In this step we make a distinction between the ___ category singers and the __ category singers.* strained; breathy/ weak pulled lower; light lower/ undeveloped belt; legit/strained 17. IN STEP 6: THE BALANCED ONSET we address the manner in which _____ is initiated. The objective is to develop a balanced onset (neither the ___ onset used to counteract hyper-adduction nor the ____ used to counteract hypo-adduction).* phonation; aspirate; coup-de-glotte singing; attacked; flow voicing; flow; pressed 18. IN STEP 7: ADVANCED SKILLS the objective is the development of advanced musical skills such as:* style, intonation, diction, intervals, power, singing songs dynamics, flexibility, advanced vibrato, stepwise motion, power, singing songs interpretation, intonation, advanced vibrato, intervals, messa di voce, riffs and runs 19. IN STEP 8: STYLE we have fun learning basic to advanced contemporary ______ and _______. * solos & duets songs & riffs riffs & runs 20. Rather than the typical voice lesson that consists of an ineffective ____________ and then singing the song a few times with no specific goals for improvement, lessons are based on a specific lesson plan of vocal development with ___ as new exercises are added weekly. In lessons we work on technique and on songs, with specific strategies to develop _____ and ____. As skills develop,we begin to include _____.* warm-up; sequential skill-building; balanced registration; mix; style demonstration; repetition; listening; imitation; harder songs lecture; imitation; ear training; solfeggio; diction 21. Lessons are recorded and the singer practices with the recorded lesson by:* singing along with the most recent lesson every day, standing in front of a mirror. singing along with the any of the lessons every day, while doing other things. singing along with the most recent lesson once or twice, driving in the car. 22. The student is an active participant in the learning process; the expectation from us is that the student will practice a minimum of ____ daily.* 45-60 20-30 10-20 23. We believe that consistency with ___practice and ____ lessons is the key to success.* daily; weekly intense; monthly intentional; biweekly 24. Remind them often of our motto: “____repetition over time leads to automatic ____ ____, which lead to ____!”* focused; good habits; success consistent; good singing; happiness daily; vocal control; effectiveness TEACHING THE STEPS25. Each chapter in the book is divided into four sections: a. HOW YOUR VOICE WORKS describing the ____, _____, _____ of the voice. b. TOOLS FOR TRAINING VOICES describing the methods by which we obtain the_____ of each step. c. TEACHING THE STEP d. TEST YOUR KNOWLEDGE– helps you ____ and _____ what you learned. e. EXERCISES with ____.* a. anatomy, physiology, science; b. objective; c. review, remember d. accompaniment tracks a. structure, mechanics, function; b. goal; c. learn, memorize; d. demonstrations a. methodology, pedagogy, function; b. outcome; c. incorporate, remember; d. options 26. You will use the _____ to teach all lessons. If necessary, you should stop the recording to teach the exercise by _____. Then go back to the tracks.* piano; explaining the exercise accompaniment tracks; demonstrating vocally and playing it on the piano. piano; taking a break 27. What is the procedure for demonstrating exercises on virtual distance lessons?* play the exercise along with the student. use a lot of descriptions to help the student understand the exercise. first play the demonstration from the product, have the student repeat the exercise, play the demo again from the product, have the student repeat the exercise again, then you can take over playing the piano. To do this you will need to screen share and audio share on ZOOM. 28. Distance Lesson require a lot of _____and ______.* patience, fortitude intonation, ear training call, response 29. With the Spiral Learning method each of the Eight Steps of Vocal Development is revisited many times; each time your student will be at a higher _____ level and will need greater ____. Steps 1-5 are broken down into three rounds: ______, ______, _____. You will simply follow the path of exercises at the appropriate level. Do the exercises _____ _____.* skill, challenges; beginning, intermediate, advanced; in order complexity, expectation; beginning, intermediate, advanced, pick and choose challenge, skill; easy, moderate, challenging; randomly 30. Steps 6-8 are not divided into rounds; instead they are divided into ____.* challenges modules skills 31. When progressing through each step follow the specific order of exercises and options given, ____ _____. In the first lessons you will spend most of the time on steps ____. Try to get to Step 5 as soon as possible so the student can begin to ____.* In order; 1-4; mix randomly; 2-5; belt serially; 1-5; connect 32. Encourage students older than 10 to take at least ___ minute lessons so you can do ___ minutes of technique and development and work on a song for ___ minutes.* 45, 30, 15 30, 20, 10 60, 45, 15 33. Always have them put a ____ on at the beginning of the lesson.* breathing belt recording device both of the above 34. LESSON WRAP UP: When teaching lessons it is essential to end each lesson on a ____ note of encouragement and to reinforce what the student should _____ on in the coming week.* positive; focus reminder; practice instructive; think 35. As a teacher you must be able to demonstrate every exercise well, both vocally and on the piano. A great deal of what we do involves “____ and ____”- you ____, they ____. Over and over. * call, response; demonstrate, imitate explanation, discussion; describe, respond imagery, imagination; encourage, try 36. Teachers; when you practice, sing and play along with the _______. This way you will establish the correct tempo and feel for each exercise.* score recording music 37. Practice Is ___.* standing in front of the mirror singing along with the entire lesson done with the breathing belt all of the above THE FOUR PILLARS OF GOOD INSTRUCTION: TEACHING WITH THE RECORDINGS38. The product is structured in a logical and sequential way, such that if you simply follow the path of exercises in order, you will get results. So all you have to do is hit the "play" button, and sit back and relax.* True False 39. The whole purpose of the recorded exercises is to enable the teacher to be MORE ____ and MORE ____ since you are not tied to the piano.* relaxed, passive demonstrative, supportive involved, interactive 40. Pillar One is THE SET-UP: The set-up is where you quickly tell the student what the next exercise is, what the ____of the exercise is, and what your ____ is, instead of randomly moving from one exercise to the next.* basis, explanation background, demonstration purpose, expectation 41. Pillar Two is MODEL GOOD BEHAVIOR. You should ___ with your own voice and body. Stand up and do the exercise along with the student. Don't just sit there and passively wait for the exercise to end. The purpose of the product is to allow you to be MORE active since you are not tied to the piano.* Remonstrate Demonstrate Exhonerate 42. Pillar three is CONSTANT REMINDERS: ____ deepens the ____. Take the opportunity of providing constant reminders and demonstrations during key changes between exercises.* insistance, resistance explanation, knowledge repetition, impression 43. Pillar four is FEEDBACK: Feedback should be ___. * immediate supportive instructive all of the above 44. With a good set-up, modeling of correct behavior, constant reminders, and immediate feedback, your student will have a much clearer understanding of your expectations and will be able to____ _____ in practice sessions during the week. Their vocal progress will be quicker and they will have more ownership of the process since they will have a clear ____ of that process.* rationalize errors, excuse try new things, direction self-correct, understanding CommentsThis field is for validation purposes and should be left unchanged. Δ YOU can be a Successful Voice Teacher Table of Contents
