COMPLIMENTS OF YOURIMPRESARIO.
For All Singers
&3 4 Ï
1. WAKE-UP CALL q = 120 mp
arr. Brenda C. Kayne
Ma - me - mi - mo - mu, La - la - la - la - la,
ma - me - mi - mo - mu, la - la - la - la - la, 3. WAKE-UP CALL. TOP EDGE OF TONE. q = 150 mf detached Ding ding ding
4 4Ï Ï Ï Ï
ma - me - mi - mo - mu. la - la - la - la - la.
ä 4 4
2. WAKE-UP CALL. CONNECTION FROM TONE TO TONE.
mp h = 60 4 &4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Î 4 4 #Ï Ï Ï Î > > > Ma - me - ma - me - ma - me - ma. "V" -
mf q = 130 ..4 4 Ï Ï Ï Ï Ï Ï Ï Ï .. ú. Î 4 4 Ma - me - mi - mo - mu.
4.FLEXIBILITY. LEGATO WITH SKIPS.
4 Ï Ï Ï Ï Ï Ï Ï Ï .. ú. Î 4 4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú. Î 4 4 & ..4
Ma - me - mi mo - mu. Ma me mi mo mu.
5. FLEXIBILITY AND LEGATO. mf q = 130
6. ENERGIZER! ARTICULATION. q = 86 mf
7. FLEXIBILITY. LEGATO SKIPS. mf .. & ..4 4 Ï Ï Ï Ï Ï Ï Ï Ï Ma me mi mo q = 120
Î 2 4 Ï ú.
8. CLARITY mf q = 84
Mi Re Zing Hunga
- ne - mi - ne mine. - re - ra - ro ru. - zing - zing - zing zing. - hunga - hunga - hunga - hunga.
4 Ï Ï bÏ Ï Ï & ..4
Ma me -
9. CLARITY WITH LEAPS. INTONATION. CONNECTION OF TONES. q = 120 mf mi -
4 Ï 3 ú. Î 4 Ï bÏ Ï Ï Ï Ï Ï ú. Î 4
O - i - o - i - o - i - o - i - o.
10. EVEN TONE (CHEWING EXERCISE) q = 120 dim. mp
q = 90
3 mf 3 4 Ï Ï Ï Ï .e.e .e . INVIGORATING THE TONE..e-e i -i-i-i-i -i-i-i-i o -o.i.mymusicschool.
mf mp 2 Ï Î 4 Ï 4ÏÏÏ ÏÏÏ 4Ï Î 4 4 e .a. .o . . 24. q = 92 mf
21. FLOATING THE TONE.a . j j j j 4 4 4 4 & 4 ÏÏ Ï Ï Ï J Ï Ï Ï Ï Ï Ï J J Ï Ï Ï Ï Ï Ï Ï .o mi .o.o . 15. f mf q = 120 mi . 23. 18.ti .ma . EFFICIENCY.e .o . LEGATO. . PURITY OF TONE.a .i. FLEXIBILITY.a . FLOATING THE TONE.i -i o-o-o u-u-u
16.a.a .yo .e . .o . .mi .e.u e-e i-i o-o u-u e-e i-i o-o u-u .o. AND CONNECTION OF TONE. WARMTH.o.a
20. PURITY OF VOWEL RANGE.a . .e -e i -i -i .a .a . COORDINATION. . mp q = 100 3 mf q.mi .a.a . BRILLIANCE.i
q = 92
19.u .e .o
22.e .i. EVEN TONE. Ï .Ï mf q = 130 j ..com
.e.o . .e-e. q = 100 3 mf q = 130 mf 3
.u -u e -e. Ï . CLARITY.o .i -i o .ti
14.u .a . . LEGATO.ya . LEGATO PHRASING
mf 4 Ï Ï Ï Ï Ï Ï Ï Ï ÏÏÏÏÏÏÏÏÏ Î &4 e -o. .i
Î 5 4Ï Ï ÏÏÏÏÏÏ 3 4Ï Ï Ï 4 4
www. ENERGIZER! FOR RANGE "THROW-AWAY EXERCISE.u.u .
&4 4 ú
q = 100 mf
Yo . . Ï Ï Ï Ï Ï Ï Ï .ya
mp mf 3 Ï Ï 4ú Î 4 4 Ï ú I
q = 100
Ï Ï ú
thee so.u. .a.sheetmusicdigital.e . Ï Î & 4 Ï Ï Ï Ï Ï Ï Ï Î . EVENNESS 13. .o . a .a.o. = 90 cresc.e i -a-i -a-i -a. .o-o -o -o-o -o -o u -u.u.i .e . FREEING THE TONE.e-e i . STACCATO. POWER EXERCISE. .a .mi
u.ya .a-a a.a .com www. .o . SAME AS 14.u .o . PRECISION. LEGATO.mi .ti . FLOATING THE TONE.a-a.a.u Ya .o .a a -a." q = 132 3 3 mf
mi . . 2
12.a. COORDINATION. Ï .to .a. .e .ti ..mi .mi .e . .a . . U 9 4 Ï Ï ä &8 Ï Ï Ï 4Ï Ï Ï ú
mi . BRILLIANCE.2
11.o -o u .o
Ï Ï jä 9 8 Ï Ï Ï Ï Ï
5 4Ï Ï Ï Ï Ï Ï Ï Ï Î 3 4
To .ue.to .e -e. WARMTH AND FULLNESS OF TONE. . .a-a
e .yo .i .to .mi .u-u -u -u-u -u -u e-e-e-e i-i-i-io.mi .o.
17.ma .mi . . RANGE.o . j 3 5 4 3 Ï j Ï j ä ä ä 4 .o . ENERGIZER! q = 120 q = 110 mf mp Mi .e.o. WARMTH AND FULL TONE. SAME AS 14.o u.
e -o . mf o.com
.mi .o -i .zi . EVENNESS OF TONE. LEGATO.i .
27.i .i . LOOSENESS OF JAW. FLEXIBILITY. Ï Ï Ï Ï Ï Ï Ïj ä 4 Ï Ï Ï Ï 4 Ï Î 4 Ï Ï Ï Ï Ï Ï 4
I'm ver ." q = 106
. COLORATURA.i .i . Ï Ï Ï Ï Ï Ï Ï Ï Î Ï 4 Ï 4 ÏÏ Ï Ï Ï Ï Ï
o u mi .i . CONNECTION AND EVENNESS OF TONE.i . .i-o-i -o-i-o -i o .o mi .mi .o -i . i a i a i a i a i a 30.e -o -e
26.a .day? 31. LIGHTNESS AND EVENNESS OF TONE. COLORATURA.a. LOOSENESS OF JAW.za . "ROSSINI EXERCISE. mf q = 80 i-a-i-a -i-a-i-a-i -
ÏÏÏÏÏÏÏ 3 Ï Ï 4 Ï & ÏÏÏÏÏÏ ÏÏÏÏÏÏ ÏÏÏÏ ä 5 4äÏ 4 J Ï Ï Ï 4
-i a i a i a a-i-a-i-a mf Ï Ï Ï Ï Ï ÏÏ 5 Ï Ï &4 4Ï Ï Ï Ï Ï Ï Ï Ï Ïj ä 4 4Ï Ï ÏÏ Ï Ï 4 Ï Ï .e -o -e . FLEXIBILITY. FLEXIBILITY. za .e -o .a.mi . q = 132 mf How are you to .e . ÏÏÏ .e -o -e -o .a .
not to .o .i e -o . CONNECTION q = 92 AND EVENNESS OF TONE.za . ÏÏ Ï 5 4 2 4 2 Ï &4 .i
7 4 ÏÏÏÏÏÏ 4 Ï Ï Ï Î 4 Ï.zi .day. PURITY OF VOWEL. q = 96 3 mf
&4 4Ï Ï Ï Ï Ï Ï Ï Ï 3 4 Ï Ï Ïj ä 5 4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ïj ä 6 8
o .a a u u 28.o. how are
CRISPNESS OF CONSONANT.a .i .o.mi -a .o -i .za e o a 33. q = 150 mf
q. .i . = 100 mf mp Ï 6 &8 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ä Ï Ï Ï Ï Ï cresc.a -i .o 29.i .zi .
2 Ï Ï 4Ï
www.y well.mymusicschool.i .o. 3 mf mi . q = 70 CLARITY.mi .3
2 Ï Ï 4Ï
No.za .a . FLOATING THE TONE. WARM-UP.mi .sheetmusicdigital. INTONATION. mf 32. SINGING WITH TEXT.o i .a .zi .com www. RANGE.o . ARTICULATION.i . q = 110 LEGATO. RANGE.
Sing on one breath with subtle crescendo and no accented tones. however.
www. e – “ay” (without dipthong). The exercises are worthless. jazz. u – “oo”. A teacher or choir director will need to guide those singers who need assistance in this important. One does not sing all of the exercises at one session. These exercises are as effective for choirs as much as they are for the individual singer because they are based on the premise that the foundation of good blend is in establishing similar proper vocal technique and tone models. and rest for breath. in the case of the injured voice. and for personal use. for choirs I have directed. This applies to all types of singers – classical. not so much in terms of level of difficulty. but rather in considering when to sing them during a vocalizing session. lyrical line. Singers are to sing the exercises at the beginning of a lesson or rehearsal. Sometimes it is helpful to sing a particular exercise right before a song that offers a similar vocal challenge. Vowels are sung as : a – “ah”. or if someone has not sung for quite some time.minute session will suffice.) support the sustaining of the tone as needed. Establishes the cycle of breathing: preparation/deep inhalation. range.mymusicschool. phrasing.
Notes on Each Exercise 1. However.sheetmusicdigital. of course. dynamics. etc. Singers are encouraged to use the exercises in conjunction with the specific pieces they are studying. energized. tempo. o – “oh” (without dipthong). Wake-up call. gluteals. basic area of singing if these exercises are to be helpful. A ten-minute to twenty. i – “ee”. The exercises seek to achieve pure. etc. The exercises on page 3 are useful once the singer(s) has been vocalizing for a few minutes. Singer(s) will benefit if he/she has a clear idea of the purpose of each exercise. Keep vowels pure.How to Use the Vocal Exercises. The Vocal Exercises are a compilation of exercises that I have used over the years in my vocal studio. This exercise is also good for being aware of the balance and deportment of the body.com
. Continue this pattern in several more keys. Any of the exercises on page 2 are healthy to sing after having warmed up a little. Singing on “La” is good for loosening the jaw – the jaw is relaxed and open and does not move while the tongue does the articulating. then repeat with proper breath up a half step. A reminder – these are vocal exercises with a purpose. It is best to choose several from each page. Each exercise has a specific function in enabling the singer(s) to sing at his/her most beautifully and healthfully. Excellent exercise to make one conscious of the importance of the deep breath. Continue this pattern in several more keys. clarity. Each exercise is given a suggested dynamic. There are specific exercises for flexibility. Some are more difficult than others and should be selected by the choir director or teacher according to the appropriate level of study. Teachers and choir directors are encouraged to create their own exercises based on this series to suit the needs of their singers. the exercises can be sung for a full lesson period as a healing therapy or stepping stone toward singing text again. covering all the challenges of basic technique. expansion as needed. and pop. then begin at your starting tone and repeat the phrase with proper breath down a half step. The singer(s) is to be mindful when singing: Start each exercise in mid-range.com www. The exercises #1 through #10 (except #3) are to be sung through mid-range only. but these exercises are not merely warm-up exercises. singing of phrase/exhalation while maintaining feeling of expansion and as lower muscles (lower abdominals. Exercises on the first page are good starters. lyrical tone with sufficient range and expressive power. They are progressive. if there is not a thorough understanding of the use of the breath.
e. quickly and deeply. If breathy or singing with “h”. Much like #4 and #5. open tone as well as to differentiate between nasal and open tones. 10. One sings this exercise as if it were a step-wise phrase. Singing on “v” demands feeling of large expansion. The goal is to sing without any “h” so that each tone is identifiable within a smooth phrase. then clarity. 5. and those with ample vibrato. Observe shape of phrase – fullness in the middle. if the singer slightly emphasizes the repeated higher tone. and the breath is deep.sheetmusicdigital. young breathy voices. i. much like #3. It is okay to sound a little shrill. For experiencing use of lower support muscles. Wake-up call. Let jaw be. Mouth shapes vowels quite subtly. Flexibility. Can sing phrase throughout vocal range. An obvious way to learn about breathing technique. Using “hunga…” (pronounced “huhngah”) is to be sung with a very succinct difference between the open vowels (“uh” and “ah”) and the nasal sound (“ng”). Legato skips. Established top edge of tone – good exercise for heavier voices.com
. but rather. one that is hollow-sounding. Legato with skips. Purity of vowel. not a particularly pretty one. In fact. the exercise is successful when each tone is sung in the same rhythm as the vibrato. Tones are detached. use of lower muscles to support the tone. Even tone. Also good for evening out a too wide vibrato. The leaps are not thought of as one note being higher than the other. Much like #4. less intense at beginning and end of phrase. 8. Sing “Ri-rera-ro-ru” with flipped or slightly rolled “r”. “O” remains pure throughout – never “uh”. 4. pure tones are used. Energizer! Articulation. Think of “high cheek bones” and “smile behind the eyes” or think of yawning so that only tongue makes changes and the jaw is opened slightly and relaxed. Clarity. 6. 11. If one cannot sing the “r” in this manner.mymusicschool. 9. Intonation. There will be no feeling of expansion. bright tone. Singing on mixed vowels or “v” establishes the cycle of breathing. Use pointed. Chewing exercise. Much like #2. Wake-up call. Sing “Mi-ne-mi-ne-mine” when voice is feeling “fuzzy” or lethargic.com www. Beginners may sing with an “h” in between vowels if voice does not move easily or sliding occurs. as one note being more demanding of energy than the other. Cycle of the breath. Flexibility. Singing with the “top of the tone”.
www. 7. Through singing the exercise with “hunga…”. making sure the lower tones are not given any heaviness. 3.2. then use a soft “d” – the rolled “r” will eventually come. Sing with spirit. Clarity with leaps. Feel buzz in lips and face throughout phrase – more important than whatever tone is produced. try singing on “du” or “ba”. Flexibility and legato. Not meant to be sung with fullbodied tone. Connection from tone to tone. Sing seamlessly. one learns to associate the sensation of the risen soft palate with free. Generally. “Zing…” is excellent for the voice that needs a little nasality to the sound. Breathe through the mouth. Connection of tones. Range. Keep pure vowels – try not to insert “w” or “y” between each vowel. Connect the lower body to the “r” just as one does singing the “v” in #2. good intonation and smooth connection of tone occurs.
Sing dolce. If unable to sing with clarity. Feel gentle pulse in belly button area. Floating the tone. Do vowels as a sequence. Allow for space in mouth as you sing in higher key. No tone is accented. Sing quickly with loose jaw. Good for curtailing heavy vibrato or too much weight in the voice. Brilliance. Good for building range. Must be very sure of technique before attempting exercise. 22. Efficiency. Legato. Wonderful “last” exercise to sing just before performing. Sing very quickly. Must be well supported. and keeping on the same tonal pathway for all vowels.12. Allow the tongue to do the work – think the vowel. Make sure that one does not preface the “y” sound with an “ee” sound. Good for those who do not yet have much of a range. Floating the tone. Inhale quickly and deeply as if on an “ah”. 17. Just don’t let the singer(s) see the keyboard! The “mi…” part of the exercise is sung lightly and feels right in front of the mouth. Purity of tone. Singer will not feel wide expansion. try each vowel with a “b” in front of it. Good for emerging vibrato. 13. One can sing this exercise to the extreme high ranges (but don’t start there). but the “l” of love must be on time and not allowed to dawdle! 19. Clarity. Legato. Legato phrasing. but don’t forget to do so while managing a deep and expansive breath! This is an expressive. Energizer! For Range! “Throw-away exercise.com
. romantic phrase. Warmth and full tone.mymusicschool. Feel sight “kick” or “lift” in lower abdominals at first tone. Good for range-building. then you have done the first part correctly. When singing phrase on higher tones. Establishes cycle of breathing on the quick breath through the mouth. Same as #19 with a flexibility exercise attached. Same as 14. 18. think a little “aw” in the “ah” vowel. Same as 14. Warmth. 20. Invigorating the tone. Keep “i” and “a” on same tonal pathway. Warmth and Fullness of Tone. Advanced singers: Sing last tone as messa di voce.” This is a wonderful exercise for the choir director or voice teacher to teach shy altos and singers who swear they have no range. Mouth shape changes subtly. singing with skips. This is a good exercise for young. Flexibility. Just a little more advanced. Those with vibratos that are too wide or overemphasized must be especially mindful in singing this phrase. Sing with no accented tones but with blossom in middle of phrase. 14. Staccato. Freeing the tone. but don’t make (manufacture) the vowel. especially if initially fatigued. Mouth shape changes subtly. Sung powerfully but jaw is relaxed and loose. This exercise can be sung in all areas of the voice. smoothness and connection of tone.
www. As you sing the phrase into higher keys. Last held tone is powerful without being heavy.com www. Coordination. First tones involve slight emphasis – no need to push. but well-disciplined voices whose vibratos are just coming into being. Power exercise. 23.sheetmusicdigital. Brilliance. 16. If you are able to do the second part of the exercise well. Croon. Energizer! Very good warm up. Coordination. 15. Crooning is good for the too heavy voice. Range. but high tone has “ping”. 21. Precision. Even tone. use all “a” vowels. Last tone is not sustained.
Are the vowels pure? Are the consonants quick and sharp? Can you sing with legato and still be understood? Mid-range exercise. Flexibility. legato exercise amongst more demanding exercises. Purity of Vowel. Looseness of jaw. 26. Range. By the same token. It is using the top part of the tone. Legato. Never think you are going higher with the phrase. Clarity. Range. sing with a consonant and vowel before each tone (eliminating the melisma. Floating the tone. The mouth hardly changes shape from one vowel to the next. No need to sing at extremes of range. Do not insert any “y” or “w” between the vowels. Same as #24 only a bit more advanced. 25.com
. Then try as written again. 30. Do not manufacture vowels – just think them and let the tongue to the work.). Begin lightly and cleanly with gradual crescendo to high tones and gradual decrescendo on the descent. Even tone. Floating the tone. 29. A gentle. Has an operatic sensibility.
www. 32.mymusicschool. Coloratura. This one is good for the ear. Keep the momentum and steady pace. 33. one must incorporate flexibility. Intonation. rather you are going out with the phrase. There should be no “h” inserted between any of the vowels. Similar to #9 and #27. Legato. 28. sing a “b” before each vowel. Connection and even tone. since you do not end with the same tone with which you begin the exercise. i. Be sure to begin lightly so that there is no difference in tone from the lower notes to the higher notes. Like #27 with added range and speed. End lightly as well. Articulation. A good exercise at the end of your vocalizing session.” For the advanced voice. lightness. Try not to insert any “h” between the vowels. You can sing this exercise at the beginning of your session. Flexibility. As such. but there is definitely a curved phrase shape. If still unable to sing with proper articulation and even tone. Make sure you are warmed up before singing this phrase. Looseness of jaw. you can sing the phrase into the higher keys. Wonderful for the heavy voice. Connection and even tone. Let jaw establish gradually increasing space. Singing with text. clarity and a full-bodied sound to be effective. intense literature. If unable to articulate. The “i” vowel should never be “spread” with lots of upper teeth showing anymore than the “o” vowel should not have upper lip covering all the upper teeth. relaxing exercise with loose jaw.sheetmusicdigital. 31. Gently emphasize repeated tone. Advanced exercise. Slight crescendo to phrase. The “zi” of the exercise is not meant to be full-bodied or pretty in sound. Another “crooning” exercise – sing it while you clean house or wash the car! A way to keep the voice loose and easy feeling – especially if you’ve been singing lots of formal. there should be no sliding tones.24. The dynamic change is quite subtle. Lightness and even tone.e.com www. Just make sure you are fully warmed up when you sing this exercise! No tone is accented including the dotted quarter! Maintain the purity of the vowel throughout the melisma – the vowel does not change. Now you are ready to sing with text. Chewing exercise like #10. It’s easy on the voice to insert it here as a simpler. Colortura. Flexibility. This exercises “works” when each tone fits into the speed of the vibrato. “Rossini exercise. 27. Much like #3. too.