Quiz Chapter Twelve

1. [T or F] The higher one sings, the higher correspondingly one breathes. [89]

2. Low tones are: A. unnatural B. natural C. supernatural D. Sensual [89]

3. Therefore: A. do B. do not C. always D. never push out to much breath. [89] [B or D]

4. Start the tone as one starts the tone on a: A. Kazoo B. Cello C. Violin D. Mandolin E. The postmodern deconstructive language approach – “Any of these! Sure, they all work!” [89]

5-6. Circle the two exercises not mentioned in the list for developing high range in singers:

a. Stepwise runs
b. Broken ascending triadic chords
c. Sing slowly
d. As the singers t0 make a physical motion contrary to the direction in which they are singing
e. Producing pitches without awareness of how high they are singing
f. Change the vowel to “ee” in the upper voice [90]

7. For every jump, ask the singer to imagine: A. faster air B. slower air C. stagnant halitosis air D. Holding air [90]

8. What vowel should one change to when working the upper voice in range extension high? A. oo B. ee C. ah D. eh [90]

9. For downward range extension, the conductor should ask for: A. fishmouth B. rabbit teeth C. fishmouth and rabbit teeth D. big mouth and buck teeth [91]

10. For downward range extension, the conductor should use what stepwise exercise? A. 3 note B. 4 note C. 5 note D. sticky note [91]

11. [T or F] The conductor should always minimize the feeling of singing high by conducting low. [91]

Bonus: The big idea for Thursday was captured with the sound of a[n]:
A. Owl B. Dog C. Cow D. Hum E. Call