214:), but can be basically understood as the effects of the lips, the teeth, and the tip of the tongue. Often we also try and use our jaw for articulation, which creates unnecessary tension in the facial muscles and tongue. A good vocal warm up will relax the jaw, while activating the lips and the tongue in a variety of exercises to stretch the muscles and prepare for the more defined vocal articulation that is required when singing or acting. These exercises may include tongue twisters, or the famous "me, may, ma, moh, moo" that many actors are seen doing in film.
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316:(either musical or theatrical), it also provides an important opportunity to assess the vocal abilities of the singers/actors at hand without the distraction of the repertoire and to specifically train areas of weakness. For some, their director will be the only voice teacher they ever work with, so the vocal warm-up is the only time where they receive specific training for the muscles required by their craft.
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is required for singers to take very quick deep breath and sustain their exhalation over many bars of music. A good vocal warm-up should include exercises such as inhaling for 4 counts, then exhaling for 8 counts (and slowly transitioning until the performer can inhale for 1 count and exhale for as
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Vocal warm-ups are intended to accomplish five things: a physical whole-body warm-up, preparing the breath, preparing the articulators and resonators, moving from the spoken register to the singing register (or an extended spoken register for acting), and preparing for the material that is going to
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that is to be sung, or with the accent that an actor must use for their role. Certain difficult passages of the forthcoming repertoire might be broken down and used as an exercise, and any language requirements must be prepared (if the performer is singing in their non-native language, they will
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diction) into the singing register (large pitch range, large dynamic range, and diction specific to the demands of the role or piece). This is often the largest and most complex part of the vocal warm-up, and requires a multitude of exercises. These exercises also provide voice training, and are
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Changing pitch undoubtedly stretches the vocal muscles, and singing or projecting one's voice for acting requires a more strenuous use of these muscles. A good vocal warm-up should move the singer/actor from the spoken register (small pitch range, small dynamic range,
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Finally, a good vocal warm-up should prepare the specific material that is going to be rehearsed or performed (usually a vocal warm-up is a precursor to either rehearsal or performance). This could be as simple as doing some exercises in the
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all over the body are used when singing/acting. Stretching helps to activate and prepare the large muscle groups that take care of balance and posture, and the smaller muscle groups that are directly involved with breathing and facial
351:(1683–1764), chosen for their value as exercises in vocal technique. Accompanying the exercises are instructions on mastering the technical challenges they pose. By the 19th century, vocalises were commonly composed specifically for
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A related tradition of vocalises sprang up in the 19th century with wordless technical etudes set to piano accompaniment. This followed the fashion of the time of setting even the most mechanical of
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and/or breathing muscles. Actors (including opera singers or musical theatre performers) may need to do a more comprehensive physical warm-up if their role is demanding physically.
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In the early 20th century, many orchestral scores incorporated wordless choruses (especially female choruses) for coloristic effects, and such choruses may be found in works by
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81:. Research demonstrates that engaging in vocal warm-ups can temporarily elevate vocal effort, which normalizes after a short rest, enhancing vocal readiness for performance.
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Elliot N, Sundberg J, Gramming P, Iwarsson J. Effects of vocal warmup, part II. 23rd Annual
Symposium Care of the Professional Voice, Philadelphia, June 1994.
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famously combined both these techniques. This style is pre-composed (i.e. not improvised); therefore, it is not to be confused with
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is used as a vocal exercise before singing, and also to a certain extent adds to the singing and the melody.
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is a vocal exercise (often one suitable for performance) without words, which is sung on one or more
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want to do exercises to prepare for the sounds and shapes which are required in that language).
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Vocal articulation is controlled by a variety of tissues, muscles, and structures (
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Physical whole-body warm-ups help prepare a singer or actor's body in many ways.
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long as possible); panting or puffing air are also used to engage in the
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during long singing/speaking passages. Specific training of the
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purposes rather than being adapted from existing songs.
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30:"Vocalise" redirects here. For other uses, see
339:includes a selection of songs without words (
329:Vocalises date back to the mid-18th century.
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562:– science and practice of voice habilitation
696:Video of the flow resistant straw technique
499:(with the -ese suffix) refers to a type of
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654:Online, ed. L. Macy. Accessed 25 Jun 05
105:This section includes a list of general
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648:Owen Jander. "Vocalise."
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192:respiration
124:introducing
88:Description
735:Song forms
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700:Ingo Titze
698:featuring
577:References
235:colloquial
196:exhalation
107:references
518:The 1929
416:Pastorale
240:vocalises
219:phonation
181:shoulders
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560:Vocology
549:See also
496:Vocalese
473:Vocalise
438:Vocalise
320:Vocalise
314:director
300:sounds.
260:vocalise
252:blending
720:Singing
571:Melisma
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256:balance
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169:abdomen
160:Muscles
120:improve
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64:singing
674:about
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360:études
349:Rameau
254:, and
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