Choral Warmup Manual

Mused 304

Prepared by

Steven M. Demorest
Michelle Ross

 2003
Do not reproduce or distribute without permission
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Preface/Table of Contents

One goal common to most choral directors is the establishment of proper vocal
technique in their ensembles. Using our own materials and various “experts” as sources,
we have compiled what can hopefully serve as a reference guide to understanding the
fundamental aspects of group vocal technique. In each section we have also included
ideas for possible exercises to enhance the learning and application of each aspect.
Most conductors use warm-ups at the beginning of a rehearsal to establish a supported
sound, increase vocal flexibility, and build long-term vocal technique. This is often done
through a series of exercises that the conductor has found to be effective in those areas,
and are exercises that remain relatively unchanged from day to day. Through the work of
Frauke Haasemann and others, we have been shown the possibility of using a variety of
warm-ups to build vocal techniques tailored to different styles of music. By customizing
warm-ups to the literature being rehearsed, a conductor can prepare a choir both vocally
and musically. The basic principle behind this approach is that a choir should never sing
without some kind of musical goal or intention.
A Warm-up Series includes a warm-up from each aspect of vocal technique. The
elements of the warm-up series, as included in this packet, include:

Common Patterns……………….…………………………………………………………..……………..3

Posture…………………………….………………..………..……………………………………...……4-5
Goal: To have students experience standing with good singing posture.

Breath Control/Support…………………...……….…………..…….………………………………….5-7
Goal: To have students experience taking a deep breath and generating a steady flow of air.

Resonance/Tone…………………………….………………………..………………………………….8-10
Goal: To have students experience good forward placement of the voice in the
mask while maintaining a relaxed jaw and tongue.

Vowels/Sound Concept/Diction…………………………………….……………………..…………..11-18
Goal: To have students experience the different mouth shapes required for
well-formed vowel sounds and to have students properly articulate consonants and words.

Range/Flexibility………………………….……………………….……………………...……………19-21
Goal: To have students maintain a good supported tone in the extremes of
their range while maintaining a relaxed jaw and throat.

Intonation/Part Singing…………..…………………………………………………………..….….…22-25
Goal: To have students experience maintaining their part in tune with a
well-supported and well-placed tone and to maintain balance, blend, and
intonation as they move from vowel to vowel.

Identifying and Training the Changing Voice…………………..………………..…………....…….26-28

Presenting Warmups: A Guide…………………..……………………………..…….…….......…….29-30

Further Reading………………………………………………..………………………………………….31
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Common Warm-up Exercise Patterns

5 tone descending Descending 3rds

Arpeggio Octave arpeggio

Arpeggio w/ scale Octave leap w/ scale

Chord Exercise
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Posture

Good posture is the first requirement for great singing. The way we hold our bodies
affects the sounds we produce. There are seven “requirements” that summarizes good
posture: feet on the floor, weight evenly distributed; knees relaxed and slightly bent;
spine up and out of the hips; shoulders relaxed and down; sternum up; head level and
relaxed, as if placed gently on top of the spine; and hands and arms down and relaxed at
sides. Additionally, the neck and all muscles controlling its movement should be
completely relaxed and free of tension. It is also important to include the aspects of
stretching and relaxation when thinking about correct posture, as these are both important
precursors to good singing.

Below are exercises involving relaxation and correct posture:

For Relaxation:

1. With arms together, extend arms upward, downward and with arms straight out at
sides rotate trunk (body) from side to side.
2. Roll shoulders in slow “circles.” Start down and back, move forward, rotate up
and all the way around until they are again down and back.
3. Lift both shoulders, trying to touch the ears, pause for a counted period of time,
then relax with shoulders releasing down. Gently roll head from one side (ear
almost touching the shoulder) down and around to the other side. USE
CAUTION, as this exercise can be dangerous if the head roll is done too quickly,
or if it is rotated back too far. It is safer to simply roll from side, to front, to side,
slowly.
4. Stretch upward on tiptoes, trying to touch the ceiling with the extended arms and
hands. Then, go limp like a rag doll.
5. Massage the shoulders of the person to the right. Reverse.
6. Fall over at the waist, then slowly rise with a rounded back, keeping the head
down and the shoulders relaxed. As you come to a standing position, continue
rising, take a hair from the top of the head, and hold like a puppet dangling from a
string. (This promotes an aligned body position.)
7. Stretch, yawn, and/or sigh freely.
8. Yoga Breathing: Breathe in deeply through the nose and out through the mouth.
Think of this deep breath as a “cleansing breath.” Repeat as desired.

For Correct Posture:

1. Bend over at the waist and rise slowly by straightening the spine one vertebra at a
time. Once back at standing position, the body should be relaxed and well
aligned, ready to sing.
2. Start with arms down at sides. Push all air out. Bring arms up slowly while
breathing deeply through the nose. When hands are above the head, hold breath
in (with abdominals, not the throat) while slowly lowering the arms. When hands
are down at sides, release breath (without lowering chest). CAUTION: Make sure
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singers are not holding the breath in with a tense throat. Instead, help them to
think about holding in with a “firm abdomen.”
3. Picture carrying a cake on each shoulder. Move cautiously, so as to not drop the
cakes. Note: This will help shoulders be down and back, but the “cake weight”
isn’t heavy enough to cause tension problems. Make sure students have the
correct image in their heads while doing this exercise so as to not create unwanted
tension.
4. Picture balancing a basket of fruit on the head. Move in space, thinking about
keeping the head perfectly balanced on the spine. Note: Again, make sure this
gesture is relaxed with no tension present.

Breath Support/Control

It has been said that breathing is the foundation on which we build sound.
Students must be taught to breathe correctly in order to produce a good tone. When
teaching correct breathing technique, have students focus on experiencing a deep,
supported breath. Avoid using the word “big” when asking students to take a breath,
as this might cause the shoulders to lift during inhalation. Instead, use “full,”
“round,” or “deep” as descriptors. Physiologically, during inhalation, the diaphragm
descends and the lower ribs extend outward, with a corresponding enlargement of the
body around the waistline. During exhalation, the sequence is reversed. The
diaphragm ascends and the lower ribs contract inward, with a corresponding
contraction of the body around the waistline. The breath should be the only thing
“propelling” the voice forward during the singing process.

Here are some exercises focusing on correct breathing technique and breath
control/support:

For Correct Breathing Technique:

1. Pant like a dog: With the tongue hanging out of the mouth, ‘pant’ like a dog after
a long, hot walk. Begin in a slower tempo and steadily increase momentum.
Place your hands on the abdomen to feel the “diaphragmatic” response. Take care
in how long you do this exercise, as fatigue can bring unwanted tension.
2. Perform short rhythmic patterns (four to eights beats long) to be echoed by the
students using only consonant sounds. For example: f, sh, ch, s, etc.
3. Perform the rhythm of a familiar song using only consonant sounds: f, sh, ch, s,
etc.
4. Take in a deep breath through the mouth as though you were sipping the air in
through a straw. This can be done in one breath or over 4, 8 16 counts. Using a
‘hiss,’ (or “f” or “sh”) let the air out slowly. Concentrate on keeping a steady
stream of air. Another method is releasing air in steady pulses over any number
of counts.
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5. Put thumbs on hip bones and rotate hands back until they are spread across the
lower back. Take a few low breaths, concentrating on feeling the movement due
to the breath with the hands. Bend at the waist and repeat the process. Students
should feel much greater movement across the back as they breathe in the bent
position.
6. Place an index finger in front of puckered lips. Take a deep breath and blow
against the finger as long as possible. In order to create longer breaths and
develop breath control, it may be helpful imagine “holding your breath” as you
blow out (even though this action is physically impossible).
7. Place the left hand on the upper abdomen (the lower edge of the hand should
touch the naval) and the right hand on the chest. Inhale. The left hand should
move; the right hand should not move.
8. Use images like yawning, sighing, and laughing to encourage deep breathing.
9. “Smell” the overwhelming scent of a freshly cut rose.
10. “Taste” a luscious, ripe peach.
11. Sigh from different registers.
12. When you breathe in, try and feel a “cool spot” at the back of the mouth.
13. Compare correct breathing to a balloon: as air is blown in, the lower part of the
balloon expands. Likewise, as we inhale, the lower part of our trunk should also
expand.
14. Cooling the soup: Have hands form a “soup bowl.” Pretend the soup is too hot to
eat. Take a deep breath and blow lightly over the soup to spread the steam. The
lips should be slightly puckered.
15. Playing with down-feathers: Imagine down-feathers in the air. Puff them away
from below. In order to force them upwards, puff long blasts of air.

For Breath Control/Support:

1. Bark like a dog: Model a small dog’s bark, then a large dog’s bark. Begin at one
pitch level (low or high) and while barking, move gradually to the opposite pitch
level. Caution: Beware that performing this exercise incorrectly could cause
extreme tension in the throat area. Make sure students are using low breath, not
the throat, to create the sound. (They will be able to see the stomach move in and
out if they are doing it correctly.)
2. Buzz lips together while singing a pitch or a melody. Caution: Try and be as
relaxed as possible, but understand that a small amount of tightening might be
needed to get lips to buzz. Make sure this tightening is minimal, and take time to
relax the jaw between exercises.
3. Trill the tongue while singing a pitch or a melody.
4. Pretend each finger is a lit candle. “Puff out” each candle using a “pp” sound and
short bursts of air, inhaling quickly between puffs. In other words, tug the upper
abdomen inward and outward as you puff. Extension exercise: Blow in a more
gentle, legato stream, enough to allow the “candles” to “flicker” but not be blown
out.
5. Sing a familiar melody using only laughing syllables. (ha! ho! hoo! etc)
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Notated Exercises: Breath Control

a. b.

staccato/legato arpeggio arpeggio with octave

c.

breath management through phrases and breath support on repeating “hah”

d.

staccato/legato m 3rds: descending by half steps each time

e.

staccato/legato 5 tone ascending and descending

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Resonance/Tone

Resonance is one of the most important aspects of good singing. A beautiful

ensemble sound comes from rich resonance, uniformity of vowels, depth and fullness of
tone, and projection or “ring.” Phillips describes resonance as “constructive interference
of sound waves within the vocal tract.” (Phillips, 253) In singing, breath hitting the
vocal folds generates energy that produces a sound wave. The sound wave travels though
the throat and out of the mouth, but a portion is reflected back into the vocal tract. The
sound is then rearranged according to the shape of the vocal tract, which varies according
to the vowel being produced. It is this “interference” which causes vocal sound to
transform into a resonant tone.

Resonant tone has many accompanying physical requirements. An open, relaxed

throat is essential to good singing. Students should experience a feeling of openness
from the nasal cavity down to the middle of the body. There should be no constriction
from the swallowing muscles, and the larynx should remain in its normal at-rest position.
This relaxed, lowered position should not be confused with a “depressed” larynx, which
is artificially lowered by some singers (mostly men) in an attempt to create a darker,
more mature sound. A relaxed larynx is absolutely necessary in order to achieve an open
throat. It also allows for the maximum development of resonant tone in an ensemble to
take place. Breath support also aids resonant development, as it allows the larynx to
remain relaxed during the singing process.

Other physical requirements for resonance include a relaxed tongue and a relaxed and
free jaw. The tip of the tongue should rest on the fleshy ridge at the base of the lower
front teeth. It should not be placed too far back, as this causes constriction in the throat
and a loss of resonance. The tongue’s position changes depending on the vowel being
sung, but should never be grooved or flattened, as this also causes constriction and a loss
of resonance. The jaw should never be tight; instead it should hang relaxed and free. At
times, students will confuse a dropped jaw with a “locked” feeling; again, it is important
to instead achieve a relaxed jaw. This can be achieved by modeling correct jaw position,
as well as performing exercises that develop correct jaw position. It has been said that
the object of proper resonance is to achieve a “maximum sound with minimum effort.”
(Collins, 190)

Forward, focused resonance is often achieved as the tone is placed more forward in
the masque (closest to the eyebrows). This forward tone is what is often referred to as the
“ring” in proper resonance. Two other characteristics of a resonant tone are depth
(richness) and projection (brightness). These qualities are best developed through the
proper unifying and tuning of the vowels (see Diction: vowels).
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Here are some exercises focusing on resonance, placement, and tone:

1. Relax the jaw. Rest the lips on each other as if they were very thick. Allow as
much room in the mouth as possible by opening the teeth slightly. Hum at a low,
comfortable dynamic level. Extension exercise: Shape the mouth into a ‘fish-
mouth’ shape (lips forward) to further encourage forward placement of tone.
2. Place hands in front of the face and hum into them (using technique from exercise
1). “Guide” the sound upwards with the hands.
3. While humming, “spin” an extended index finger (the rest of the hand in a fist)
forward in a clock-wise motion. This “sends” or “spins” the tone forward.

Notated Exercises: Resonance

a. b.

5 tone descending hum 5 tone descending

c. d.

from “nn” to vowels close to ringing “ng”

f. g.

nasal “ah” vowel to pure “ah” arpeggio with scale

h. i.

from “nn” to forward “ee” step-wise ringing “ng” to open “ah”

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Notated exercises: Resonance (cont.)

j. k.

descending 3rds hum descending 3rds

l. m.

bright “ee” to closed “oo” French nasal to pure “ee”

n.

3 tone hum

o.

tone focus: “ah”

p.

“mm” to pure Latin vowels

q.

6/8 ringing “nga” to closed vowel “oo”

r.

6/8 ringing “ng” to vowel

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Diction

Diction is another important element of group vocal technique. Proper diction aids
communication and assists intonation. The term “diction” can be described using three
parts: enunciation (how a syllable or vowel is spoken or sung); articulation (how a
consonant is spoken or sung); and pronunciation (how a word is spoken or sung). A
study of each of these aspects will assist in an overall understanding of proper diction in
singing.

Vowels

Vowels form the basis for all vocal sound and resonant tone production. Beautiful tone
quality is based on properly resonated vowels. Vowel sounds change as a result of
changing the shape of the vocal tract (pharynx and lip position) and different positions of
the jaw, tongue, and soft palate. Vowel sounds may be classified unto categories,
including long, short, and neutral; open to closed; and bright to dark. Some examples of
these classifications, as well as their IPA symbol and an example “color” word are as
follows:

Long Vowels: Shorts Vowels: Neutral Vowels:

[u] “oo” Blue [σ] “oo/uh” Soot [Λ] “uh” Buff” (stressed)
[o] “oh” Gold [∂] “uh” Aqua (unstressed)
[a] “ah” Aqua [ae] “aah” Black
[ei] “ay” Beige [E] “eh” Red
[i] “ee” Green [I] “ih” Pink

Open Vowels: [a] “ah,” [o] “oh” to Closed Vowels: [i] “ee,” [u] “oo”

Bright Vowels: [i] “ee,” [I] “ih” to Dark Vowels: [u] “oo,” [o] “oh”

Some words contain diphthongs, or vowel combinations within one syllable. In these
instances, the first vowel sound will almost always be the longer and stronger of the two,
and the second won’t be sounded until just before the next syllable. Here are some
examples of the main diphthongs encountered:

[ou] Yellow; [ai] White; [au] Brown; [oi] Toy; [iu] Fuschia
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One way to assist students in understanding how each vowel relates to the others is to
familiarize them with a visual chart like this Vowel Pyramid:

[a] “ah” Aqua

[ae] “a” Black [ϑ] “aw” Tawny

[E] “eh” Red [Λ] “uh” Buff

[ei] “ay” Beige (neutral) [o] “oh” Gold

[∂] “uh” Aqua

[I] “ih” Pink [σ] “oo” Soot

[i] “ee” Green [u] “oo” Blue

(Bright…………………………………………………………………………….Dark)

Once students see the different vowel sounds and their relationship to each other, the
next step is to understand the different “shapes” used to pronounce each individual vowel
sound. This “shaping” is key to uniform vowels and resonant tone within an ensemble.
The five pure Latin vowels (a, e, i, o, u) are a good starting point for learning about the
various shapes of different vowel sounds. Below are a few exercises for recognizing and
achieving a proper position for the first of the Latin vowels, [a]. For exercises involving
other pure vowel shapes, see Phillips, pp. 278-290.

1. Drop the jaw and gently push on the fleshy part of each cheek between the teeth
with two fingers.
2. Have students “chew” with a loose jaw while chanting “yah yah yah yah.”
Repeat on pitch if desired.

Many techniques are used to “show” different vowel sounds, either visually or
mentally. Stretching a rubber band both vertically and horizontally is a good visual
model of correct and incorrect mouth position for a number of vowels. Also, discussing
tongue and mouth placement for each of the five vowels, modeling the various positions
of the tongue with a hand, is another good visual model. Here is a visual example of how
the tongue is placed for each of the five Latin vowels:

AH EH EE OH OO
( )
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As students understand the importance of forming unison vowel shapes, and are given
the tools to know how to form these vowels themselves, they are able to sing better as an
ensemble. However, the process of having uniform vowels doesn’t end with vowel
shapes. Another important technique required for uniform vowels is “breathing the
vowel” together before singing begins. In addition, it is difficult to maintain pure vowels
in the upper extent of the range. Occasionally singers must modify the vowel to maintain
tone quality in the extremes of the range. In general, singers must be aware that the
higher they sing, the more the jaw must be open to maintain the integrity of the vowel.
Pitches in this upper range (f5 and above for women, f4 and above for men) must be
modified to either [a] or [E].

When designing warm-ups for diction, it is important to decide whether vowels,

consonants, or pronunciation is the focal point of the exercise. Here are exercises
focusing on vowels:

Notated exercises: Vowels

a. b.

5 pure Latin vowels descending placement of open vowels “eh” and “ah”

c. d.

vowel placement arpeggio to open “ah”

e. f.

5 tone vowel placement ‘fishmouth ee’ to open “ah”

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Notated exercises: Vowels (cont.)

g. h.

vowel placement: dipthong ‘ou’ vowel placement: descending steps

i.

vowel placement: unison (octave)

j.

focus vowels forward in the mask

k.

vowel placement: solfeggio symbols

l.

5 pure Latin vowels placement: octave

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Consonants/Articulation

Consonants aid vowels in the communication process; while vowels carry the
resonance of the voice, the articulation of consonants helps to focus the tone and make
sense of the language. However, the process of articulation isn’t always a simple task.
Phillips states: “Distinct consonant articulation requires flexibility of the articulators
(tongue, teeth, jaw, etc), exaggeration of consonants (excluding s and sh), and rapid
consonant production. (Phillips, 305)

Like vowels, consonant sounds are classified in various ways:

Resonant: M N L Z V
Percussive: P B T D K G F V
Legato: L M N
Voiced: B D G J L M N V Z
Unvoiced: F P K S T

The nature of these consonants is very important to the integrity of different sounds.
When choosing consonants for exercises, consider the sound you are looking for and
choose accordingly.

Consonants are crucial to the overall meaning of the song. An exercise illustrating
this fact is singing a phrase without consonants. Clearly, the meaning wouldn’t be the
same without the articulation of consonants. However, consonants should not impede
vowels, as this is where the beauty lies in singing. In a phrase, consonants should be
placed as far to the right as possible (almost starting the next word or syllable), in order to
enable the vowels to be long and resonating. Also, when beginning or ending a phrase, it
is important to know if the consonant is voiced or unvoiced. If it is a voiced consonant,
the sound should begin or end on the same pitch (not scooping up or falling down) as the
following (or preceding) vowel. This will improve overall intonation and ensemble
sound.

Pronunciation

Pronunciation, or the manner in which a word is spoken, is the third aspect of

diction. There are two general schools of thought in regards to how phrases should be
sung: sung-speech diction and rhythmic diction. Each has a different idea about what
should happen (space/no space) between different syllables and words. (The different
relationships include consonant to consonant, consonant to vowel, vowel to consonant,
and vowel to vowel.) A combination of both diction types should be incorporated into
classroom pronunciation techniques. An explanation of each type is needed to
understand which aspects should be included.

Proponents of the sung-speech diction claim that in order to make text understandable,
singers should blend vowels and consonants together. According to the late Fred Waring
(a prominent and vocal advocate of this diction type), “There is no space between each
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word or syllable; the end of each word or syllable is joined with the beginning of the
following word or syllable.” (Phillips, 310) An example of sung- speech diction is as
follows:
And all flesh shall see it together
becomes
“an - da - ll_fle - sha - ll_see i - to - ge - ther”

All words are “elided” into one another; double consonants become single, and each
word or syllable is connected to the following word or syllable. According to promoters
of this diction type, speech-sung diction boasts the continuity of sound and legato
phrasing, both key aspects of effective musical production.

Rhythmic diction came as a result of attempting to find “new clarity of rhythmic

precision in singing.” Proponents of rhythmic diction claim that without an underlying
“rhythmic application of speech sounds,” many other aspects including vowel purity,
vowel uniformity, the understanding of text, and sound continuity may be sacrificed.
(Phillips, 310) Therefore, rhythmic diction separates “every sound in every syllable
within a metered rhythmic structure.” (Fischer, 13) An example of the same phrase using
rhythmic diction is:
“and (uh) / all flesh ( ) shall see / it (uh) together”

(The / between words indicates a light glottal stroke, and the ( ) sign indicates a slight
separation.) According to advocates of this diction type, the result of singing this way is
music that is “alive,” “vital,” and “buoyant.” (Phillips, 311)

Although each type of diction has certain strengths that add to overall good sound,
there are problems in using each technique alone. For example, in regards to sung-speech
diction, problems generally arise when all words are elided into each other. If not
careful, “Let us pray” turns into “Lettuce Spray” and “The wondrous cross I’d bear”
becomes “The wondrous cross-eyed bear.” Therefore, there is a need to have some
separation at times. Also, in regards to rhythmic diction, problems occur in certain
instances. For example, when double consonants appear, there is a tendency to create a
false rhythm if the break between is at all audible. It is important to watch for these
cases, and if needed, remove the second consonant. Finally, there are many language
specific problems that will differ according to varying language rules. These problems
must be dealt with individually by referencing recordings and experts of the language.

Although sung-speech diction and rhythmic diction differ greatly in their techniques,
both types of diction should be known and practiced by students, according to the style of
music they’re singing. In general, sung-speech diction is most appropriate for ethnic or
folk songs, as well as pop tunes and ballads. Rhythmic diction is most appropriate for
baroque and classical music. Beyond music styles, a combination of both diction types
will prove to be most effective in communicating the text most clearly.
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A “combination diction approach” would include these types of relationships:

Consonant to consonant: elision
Vowel to vowel: break/space
Consonant to vowel: break/space
Vowel to consonant: elision

There are, of course, many other rules to pronunciation, as well as endless exceptions
to the rules. There are a number of resources available to learn general rules and
guidelines, as well as specific instructions on how to pronounce certain words and
phrases. These references include:
Marshall, M. The Singer’s Manual of English Diction.
May, W.V. and Tolin, C. Pronunciation Guide for Choral Literature.
Phillips, Kenneth. Teaching Kids to Sing.
Uris, D. To Sing in English: A Guide to Improved Diction.
Brinson, Barbara A. Choral Music: Methods and Materials. (pg. 197 includes a
list of references for diction in multiple languages.)

Here are some exercises focusing on consonant articulation:

Notated exercises: Consonant Articulation

a.

consonants “p” “t” articulation; triplets

b.

consonant articulation and vowel placement; triad

c.

consonant articulation: naming and “awakening” the articulators

d.

articulation of beginning consonants

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Notated exercises: Consonant Articulation (cont.)

e.

Consonant articulation: ‘tongue twister’

f.

percussive consonant articulation: triplets

g.

staccato articulation

h.

Consonant articulation: ‘tongue twister’

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Range/Flexibility

One of the most important aspects of good singing technique is consistency of tone
throughout the vocal range and vocal flexibility. Many untrained singers have a limited
singing range and some tend to mirror the heavy, chest quality they hear on the radio.
Good vocal training should assist students in the discovery of their head voice and an
altogether broader vocal range.

The goal of range exercises is to have students maintain a good supported tone
throughout their entire range while maintaining a relaxed jaw and throat. There is a
tendency, especially in the upper part of the range, to create tension in order to “hit the
high notes.” This problem is generally a psychological one, and can be avoided by
drawing the students’ attention elsewhere, especially when reaching notes in the upper
range. For instance, have students bend over at the waist at the highest point of the
phrase. Also, have students sing the exercises staccato and/or quickly, keeping their
minds off of the “high note” issue. Over all, it is crucial to relax the vocal mechanism as
much as possible in order to prevent injury and produce the most beautiful sound
possible.

When conducting exercises that build consistency throughout the range, it is often
easier to develop from the top (head voice quality/upper register) down (middle and
chest/medium and low register) in a descending exercise. This type of exercise is
especially helpful in developing the changing voices of young men. This “blending” of
registers is extremely important. Use exercises that descend from the middle or upper-
middle range, moving down in half steps until students have crossed over their break.
This will bring the head voice down, rather than allowing the chest voice to rise up. In
developing range and flexibility in all registers, the placement of the tone is the most
important aspect to develop. As the pitch descends, the resonance should get more
forward, not back in the throat. This forward resonance does away with the young,
shouting chest voice sound, and allows consistency and flexibility throughout the range
to develop.

Finally, it is most important to remember that vocal flexibility and agility depend on a
freely produced tone. This tone, which can only be generated by an even flow of breath,
should be consistent in all exercises throughout the range.

Here are some exercises designed to help with range and flexibility:

1. Sigh freely from high to low pitches. (Variation: form lips into an “oo” position)
(Caution: Be sure the breath support is low and the throat is relaxed to avoid
the closing off of the vocal tract.)
2. Make “hooting” sounds like an owl.
3. Make a siren noise with lips in an “oo” position; move up and down in pitch,
expanding the range each time.
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Notated exercises: Range

a. b.

arpeggio with pickup staccato/legato arpeggio

c. d.

octave “ah” alternate rhythm: arpeggio with pickup

e.
f.

5 tone descending legato/staccato 5 tone plus octave

g. h.

arpeggio with octave arpeggio with octave on closed “oo”

i. j.

flexibility: step-wise flexibility: octave plus ninth

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Notated exercises: Range (cont.)

k. l.

“sol” to “do” with arpeggio Octave leap with scale

m. n.

broken arpeggio flexibility/energizing stepwise

o.

flexibility with 2nds and 3rds

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Intonation

Intonation is key to good ensemble singing. Good intonation requires many aspects of
vocal technique discussed earlier in this guide, including posture, breath control and
support, resonance, and in-tune vowels. Difficulties in intonation arise from a lack of the
proper use of these aspects, as well as many other problems. These problems include the
environment (temperature and acoustics), inability to hear, fatigue, literature choices, and
a cappella singing.

The temperature of the environment in which the choir sings can have an impact on
overall intonation. Generally, the warmer a room becomes, the more the pitch will sag.
It is important to keep the room regulated and comfortable. Also, the acoustics of the
concert’s location, when very different from the rehearsal space, can cause problems in
overall intonation. Be sure to rehearse beforehand in the concert location, to allow
students to adjust to the new space.

Some of the problems regarding intonation have to do with the students themselves.
When students cannot hear themselves accurately, they will have difficulty singing in
tune. It is a good idea to position singers in a way that allows them to hear themselves in
relation to the other parts of the choir. Also, students sometimes experience fatigue,
either because of a strenuous rehearsal or a lack of rest; this fatigue is known to cause
intonation problems. It is wise to plan rehearsal in a way that avoids vocal fatigue, and to
have alternative plans ready in case fatigue surfaces. Also, continually remind students
that their voice is their instrument, and they must take care of it by getting enough rest.

Some intonation problems can be avoided when the teacher makes better choices
beforehand. For instance, choosing literature that is too advanced for a choir (extreme
dynamic levels and tessituras, excessive length, etc) may lead to faulty intonation, as
inexperienced singers fail to succeed with such high demands. Also, overuse of the piano
by the teacher in rehearsals often causes choirs to be over-dependent on it. Teachers
must instead encourage their students to find notes and intervals without the aid of the
piano. Although this is a slower process, it will lead to independence and better
intonation overall.

Unified vowels are often the key to fixing intonation problems. Problems occur when
the placement of the vowel in different voices result in a brighter or darker vowels.
When teaching uniform vowels, start with simple warm-up exercises, and encourage
students to listen to themselves and those around them. Discuss mouth shape and tongue
position. Encourage students to tune both vertically (harmonically) and horizontally
(melodically). When tuning vertically, think first about tuning simple interval: octaves,
fifths, and thirds. When tuning horizontally, a helpful tip is to think about taking larger
steps as the melody ascends and smaller steps as the melody descends.

Finally, intonation problems occur when the other aspects of vocal production are
poor in quality. Accurate intonation is attained by proper posture and breathing
techniques; a relaxed jaw; and a healthy blending of head and chest voices (high and low
 23

registers). In general, in-tune singing requires a large amount of energy and intensity,
and a minimal amount of tension and tightening. Practicing the aspects of vocal
technique that help to aid these requirements will contribute to good overall intonation
and ensemble sound.

Here are exercises focusing on intonation:

Notated exercises: Intonation

a.

tuning descending intervals while one section sustains the 5th

b.

down by 3rds with 5th sustained

c.

down by 3rds in canon 2 beats apart

d.

octave canon one beat apart

e.

tuning vowel shapes with 5th sustained

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Notated exercises: Intonation (cont’d)

f.

4-part: tuning intervals and vowels

g.

3-part: triad tuning

h.

4-part: chord tuning

i.

melodic tuning: ascending intervals on solfège

 25

Notated exercises: Intonation (cont’d)

j.

melodic tuning: descending intervals on solfège

k.

(Teach on solfège or numbers, then on any vowel.)

4-part: tuning melodically and harmonically

l.

4-part: melodic and harmonic tuning

 26

CHANGING VOICE

IDENTIFICATION

WHAT YOU NEED TO KNOW ABOUT THE VOICE CHANGE

A. Why does the voice change?

B. How do I know when a voice is changing?

Girls - Huskier vocal quality, appearance of a chest register sometimes with a break in
the middle voice. Range narrows and straining at top end is evident.

Boys - Speaking voice often changes a little ahead with cracking being the most common
manifestation. Sound becomes breathy/husky because chords are growing and do not
match up exactly. Though the actual shift may be rather rapid, the voice change usually
takes a couple of years before growth is complete and a true mature voice is present.

C. Ranges
Girls: Treble 1 and Treble 2 - Balance Strong singers - no permanent altos.
Boys: Stages of change – See Handout

D. Track changes for the boys.

TRAINING THE CHANGING VOICE

E. What CAN improve with training

i. Vowel Formation
ii. Breath Support
iii. Resonance
iv. Rhythm
v. Reading ability

F. What can’t improve as much with training

i. Tone
ii. Volume
iii. Range (range maintenance)
iv. Accuracy/Flexibility limited

G. Best to train boys and girls separately - ideal would be to have boys
alone/girls alone then mix once a week or before concerts.

H. Exercises (Next Page)

i. Breath
ii. Resonance
iii. Vowels
iv. Head voice
v. Chords
 27

Middle School Choral Warm-ups

I. Breath & Posture - exercises to physically show mechanism.

a. Stretch & breathe
b. String or Hands behind
c. Panting, Hissing, Rhythm patterns

II. Resonance

III. Vowel Purity – helps with intonation/blend/tone

a. Show mouth shapes on board/poster
b. Connect to common words – “key” “Father”
c. Tall vowels

IV. Head Voice

a. “oo” or “i” down 5 tone or scale starting in falsetto for the guys on Bb.
Girls can work from sigh on “oh” starting E-A.

V. Music Reading
a. do do-re-do do-re-mi-re-do do-re-mi-fa-mi-re-do do-re-mi-fa-sol-fa-mi-re-do
-then in canon
 28

ADOLESCENT CHANGING VOICE

MS Mixed Choir Seating Arrangement

Treble 1 UnCh. St 3 St 2/2a St 1 Treble 2

MS Literature Ranges
 29

Presenting Warmups: A Guide

Some things to consider when presenting warm-ups:

- For high school and above exercises should start in Bb or C. (If exercise starts s,-d
then first note should be Bb or C).

- For Middle School start in E or F and keep exercise in the range of a third or a
fifth.

- Conduct the warm-ups and keep them rhythmic to help establish a sense of inner
pulse.

- Always model a deep, supported breath as you conduct. Watch and listen for
supported singing.

- You should model the exercise for the singers and have them try it before making
constructive comments.

- Do not sing with the group during warm-ups! Critical listening, for both the
conductor and the singers, should begin with warm-ups.

- It often helpful to establish a dynamic level for a warm-up and to shape exercises
dynamically. This improves the support and intensity of the singing.

- Consonants can help to place the vowel and improve the accuracy of students singing.
Consonant/vowel combinations should be chosen with specific goals in mind.

- Use the piano sparingly to set the tonality and to move up or down, but not to double
the singing.

- Make a difference in the choir’s sound.

 30

Elements of a Typical Warm-up Series

1. POSTURE & BREATH

Goal: To have students experience standing in a good singing posture.
Goal: To have students experience taking a deep breath and generating a steady
flow of air.
• Focus on having the students experience a deep supported breath.
• Stretching and relaxation are important precursors to good singing.
• Watch how the students are standing/breathing during exercises.

2. RESONANCE
Goal: To have students experience good forward placement of the voice in the mask
while maintaining a relaxed jaw and tongue.
• Usually a descending exercise.
• Vowel choice affects the sound.
• Consonants can influence vowel placement and articulation.
• Keep exercise in a moderate range.

3. VOWELS
Goal: To have students experience the different mouth shapes required for well-formed
vowel sounds.

4. RANGE
Goal: To have students maintain a good supported tone in the extremes of their range
while maintaining a relaxed jaw and throat.
• Think both high and low.
• Is your piece more stepwise or leaps?
• Vowels influence sound, but you must move toward open vowels as you
go up.
• Work for consistency of tone throughout range.

5. PART SINGING
Goal: To have students experience maintaining their part in tune with a well-supported
and well-placed tone and to maintain balance, blend and intonation as they move from
vowel to vowel.

Any or all of these exercises could be somewhat customized to the literature being
rehearsed.
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Further Readings

Brinson, Barbara. Choral Music Methods and Materials: Developing Successful Choral
Programs (grades 5 to 12). Schirmer Books, New York: 1996.

Collins, Don L. Teaching Choral Music. Prentice Hall, Englewood Cliffs, NJ: 1993.

Demorest, S.M. (1993). Customizing Choral Warmups. Choral Journal, 33, (7), 25-28.

Haasemann, Frauke and Ehmann Wilhelm. Voice Building for Choirs. Hinshaw Music, Chapel
Hill, NC: 1981.

Haasemnn, Frauke and Jordan, James M. Group Vocal Technique. Hinshaw Music, Chapel Hill,
N.C.: 1991.

Phillips, Kenneth H. Teaching Kids to Sing. Schirmer Books. New York: 1992.

Texas Choral Directors Association. Tried and Proven Choral Warm-ups. Southern Music
Company, San Antonio, TX: 1989.