| 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
|
