| 1. |
Lip trill, tongue trill, humming,
or phonation into narrow
tubes
(all partial occlusions of vocal
tract) on glides, scales,
or
arpeggios |
- Gets respiratory muscles into full action rapidly
- Minimizes
upward force on vocal folds because of positive oral pressure
- Spreads the vocal folds to vibrate their edges only
- Lowers
phonation threshold pressure by providing an inertive acoustic
load
|
| 2 |
Two-octave pitch glides, up
and down, high
vowels /i/ or /u/ |
- Low chest to high pure falsetto
- mixed
voice
- Gives maximal stretch to vocal folds (first
ligament, then muscle)
- Maximum dichotomy between
TA and CT muscles; then unity between them
- Avoids the
difficult passaggi
- Gets Fo above F1 for varying acoustic
loads
|
| 3. |
Forward tongue roll and
extension, vowel
sequence
/a/-/i/, scales |
- Creates independence between the phonatory
and articulatory structures
- Loosens tongue and jaw
- Helps keep vertical
larynx position stable during articulation
|
| 4. |
Messa di voce, proceeding
from a partially occluded tract,
to high vowels, to low vowels |
- Engages the layers of vocal fold tissue
gradually in vibration, medial to lateral
- Help singer match
tension in muscle to tension in ligament
- Tests symmetry
of crescendo versus decrescendo control under changing
respiratory conditions
- Makes all intrinsic muscles of
the larynx work in coordination with changing lung pressure
|
| 5. |
Staccato on arpeggios |
- Elicits clean and rapid voice onset, establishing
a dominant mode of vibration
- Trains adductor/abductor muscles simultaneously
with tensor muscles during pitch change
|
~ National Center for Voice and Speech, www.ncvs.org
