{"id":3197,"date":"2016-10-28T15:53:29","date_gmt":"2016-10-28T19:53:29","guid":{"rendered":"https:\/\/www.musikalessons.com\/blog\/?p=3197"},"modified":"2023-01-25T15:41:02","modified_gmt":"2023-01-25T20:41:02","slug":"vocal-exercises-2","status":"publish","type":"post","link":"https:\/\/www.musikalessons.com\/blog\/2016\/10\/vocal-exercises-2\/","title":{"rendered":"Vocal Exercises: Intermediate and Advanced"},"content":{"rendered":"

Are you a singer who has been taking lessons for a while and is looking to improve your vocal technique at home? Although every voice teacher will use a unique set of vocal exercises with students\"vocal that help develop vocal technique, my purpose in composing this article is to outline a few of those chosen exercises specifically meant for the experienced singer to use on his or her own, whether that experience be a few months or a few years of voice lessons. One of the easiest and most effective ways to improve vocal technique is to incorporate vocal exercises into your consistent practice regime. These exercises should not only warm up the voice, but also challenge the singer\u2019s current abilities. Once the singer has mastered the basics, some of the following exercises will expand on those introductory exercises while others will work specific technical skills every vocalist will need. Check out this article<\/a> for beginning exercises.<\/p>\n

\u00a0<\/strong><\/p>\n

Intermediate Vocal Exercises
\n<\/strong><\/h2>\n

\u00a0<\/strong><\/p>\n

Speed Challenge<\/em><\/h4>\n

\u00a0<\/em>The following vocal exercise may appear simple, but the singer will quickly realize its challenge\u2014keeping the voice well-supported while maintaining a quick speed. This exercise serves the singer best when used early on in the warm-up process as it checks in with the breath and doesn\u2019t cover too much vocal range too quickly. Begin by choosing a single pitch in the middle or lower part of the vocal range and singing the chosen pitch on a \u201chi\u201d consonant\/ vowel combination (pronounced \u201chee\u201d) in the following sequence: four times at a medium tempo immediately followed by eight times at a fast tempo and finishing by sustaining the pitch for a couple of seconds. Repeat up by half step for a few repetitions. Listen to the example below for a starting tempo, eventually challenging yourself to push the exercise faster.<\/p>\n

 <\/p>\n\nhttps:\/\/www.musikalessons.com\/blog\/wp-content\/uploads\/2016\/10\/vocal-exercises-13.mp3<\/a><\/audio>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

Intervals: Fourths & Sixths<\/em><\/h4>\n

\u00a0<\/em><\/p>\n

Fourths and sixths are a couple of those intervals that appear frequently across all musical genres but are surprisingly tricky to hear and sing independently. Once singing more basic intervals feels comfortable, such as thirds and fifths, try adding these next two intervals to the mix. I\u2019ve included three vocal exercises below to help build confidence with fourths and sixths\u2014the first exercise, a breakdown of the fourth; the second exercise, a sequence incorporating both a fourth as well as a third (these two intervals are separated by only a half step and therefore challenge the singer\u2019s ear); the third exercise, a sequence incorporating a sixth that resolves down a third (rather than resolving to the starting pitch, \u201cDo\u201d). Begin by singing just the isolated fourth on any one vowel somewhere lower in the vocal range. Continue a few repetitions up by half step, switching vowels as you go. Continue through the second and third exercises using the same method used for the isolated fourth.<\/p>\n

 <\/p>\n

4th<\/sup>: C4 \u2013 F4 \u2013 C4<\/p>\n

\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0(Do\u00a0\u00a0\u00a0 Fa\u00a0\u00a0\u00a0 Do)<\/p>\nhttps:\/\/www.musikalessons.com\/blog\/wp-content\/uploads\/2016\/10\/vocal-Exercise-7.mp3<\/a><\/audio>\n

\u00a0<\/strong><\/p>\n

 <\/p>\n

4th<\/sup> Sequence: C4 \u2013 F4 \u2013 C4 \u2013 E4 \u2013 C4<\/p>\n

\u00a0\u00a0 \u00a0\u00a0(Do\u00a0\u00a0 Fa\u00a0\u00a0\u00a0\u00a0 Do\u00a0\u00a0\u00a0 Mi\u00a0\u00a0\u00a0 Do)<\/p>\nhttps:\/\/www.musikalessons.com\/blog\/wp-content\/uploads\/2016\/10\/vocal-Exercise-8.mp3<\/a><\/audio>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

6th<\/sup> Sequence: C4 \u2013 A4 \u2013 F4<\/p>\n

\u00a0\u00a0(Do\u00a0\u00a0\u00a0 La\u00a0\u00a0\u00a0 Fa)<\/p>\nhttps:\/\/www.musikalessons.com\/blog\/wp-content\/uploads\/2016\/10\/vocal-Exercise-9.mp3<\/a><\/audio>\n

\u00a0<\/strong><\/p>\n

 <\/p>\n

Intervals: Octaves<\/em><\/h4>\n

\u00a0<\/em><\/p>\n

An octave (also known as an 8th<\/sup>) is the largest interval discussed in this article. An octave covers the space of eight notes or pitches, and just like any other interval, it can be sung as an ascending or descending vocal exercise. Beginning by singing a chosen pitch lower in the vocal range on an \u201ca\u201d vowel, slide up the octave (that same pitch an 8th<\/sup> higher), and finish the exercise by sliding back down to the starting pitch. By learning this exercise on a vocal slide, the voice can more easily and safely adjust to the large interval; however, once the exercise has been repeated a few times going up the scale by half step, try eliminating the slide and repeating the exercise precisely as three distinct pitches.<\/p>\n

 <\/p>\n

Ex: C4 \u2013 C5 \u2013 C4<\/p>\n

\u00a0\u00a0\u00a0 (Do\u00a0\u00a0\u00a0 Do\u00a0\u00a0\u00a0 Do)<\/p>\nhttps:\/\/www.musikalessons.com\/blog\/wp-content\/uploads\/2016\/10\/vocal-Exercise-21.mp3<\/a><\/audio>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

Major Scales<\/em><\/h4>\n

\u00a0<\/em><\/p>\n

A full major scale covers an octave\u2019s worth of notes by beginning on a single pitch and ending on that same pitch up the octave. Scales are great for ear training and time efficiency since they cover a large portion of the vocal range in a short amount of time and include a combination of whole steps and half steps. The easiest way to sing a major scale is to think of the exercise as a ladder and each pitch is a step up or down. To begin, choose one vowel and a starting pitch lower in the vocal range (ideally the same pitch you began on when practicing octaves). Sing an octave up just to locate your highest pitch, and then begin the exercise by singing each of the notes between the two pitches beginning with the lower chosen pitch and ending with the higher chosen pitch. Immediately head back down the scale once the highest pitch has been reached to finish out the exercise.<\/p>\n

 <\/p>\n

Ex: C4 \u2013 D \u2013 E \u2013 F \u2013 G \u2013 A \u2013 B \u2013 C5 \u2013 B \u2013 A \u2013 G \u2013 F \u2013 E \u2013 D \u2013 C4<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (Do \u00a0\u00a0Re \u00a0Mi \u00a0\u00a0Fa Sol \u00a0La \u00a0\u00a0Ti \u00a0\u00a0Do \u00a0\u00a0\u00a0Ti \u00a0\u00a0La \u00a0\u00a0Sol \u00a0Fa \u00a0Mi \u00a0Re \u00a0Do)<\/p>\nhttps:\/\/www.musikalessons.com\/blog\/wp-content\/uploads\/2016\/10\/vocal-Exercise-11.mp3<\/a><\/audio>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

Advanced Vocal Exercises
\n<\/strong><\/h2>\n

\u00a0<\/strong><\/p>\n

Tongue Rolls<\/em><\/h4>\n

\u00a0<\/em><\/p>\n

Tongue Rolls used as vocal exercises (or rolled \u201cr\u201ds, the technique you would use to roll an \u201cr\u201d in Spanish or Italian) provide an excellent measurement of breath support and breath consistency. A singer won\u2019t be able to finish singing a phrase using a tongue roll unless the breath is fully engaged\u2014instead, the rolling action will immediately stop once the breath energy disappears. To begin, try producing a tongue roll on a single pitch (somewhere easily within vocal range) followed by a breath. Repeat the tongue roll on a single pitch a half step lower, and continue this sequence until the rolls are consistent. Next, try singing the tongue roll as a continuous phrase in a descending 5-note scale (Sol-Fa-Mi-Re-Do in solfege), beginning in the middle of the vocal range and moving either up or down by half step, depending on the singer\u2019s preference.<\/p>\n

 <\/p>\n

\u00a0\u00a0\u00a0\u00a0 Ex: A4 \u2013 G4 \u2013 F#4 \u2013 E4 \u2013 D4<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0 (Sol \u00a0\u00a0Fa \u00a0\u00a0\u00a0\u00a0Mi \u00a0\u00a0\u00a0\u00a0\u00a0Re \u00a0\u00a0\u00a0Do)<\/p>\n

\u00a0<\/strong><\/p>\n

Chromatic Scales<\/em><\/h4>\n

\u00a0<\/em><\/p>\n

A chromatic scale consists of a series of notes that move entirely by half step. For example, an ascending 5-note chromatic scale beginning on C would include: C \u2013 C# \u2013 D \u2013 D# \u2013 E. Chromatic scales are tricky to keep in tune, and since they\u2019re used less often in popular music, we hear them much less often than diatonic scales which move mostly by whole-step. To start, try singing an ascending 5-note chromatic scale on any single vowel in the middle vocal range. Once the singer is able to sing the 5-note scale without hesitation, try continuing the chromaticism (half steps) up to make an 8-note scale:<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 5-note scale: E4 \u2013 F \u2013 F# \u2013 G \u2013 G# \u2013 G \u2013 F# \u2013 F \u2013 E<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0(Do \u00a0\u00a0\u00a0Ra \u00a0Re \u00a0\u00a0Me \u00a0Mi \u00a0\u00a0\u00a0Me \u00a0\u00a0Re \u00a0\u00a0Ra \u00a0Do)<\/p>\nhttps:\/\/www.musikalessons.com\/blog\/wp-content\/uploads\/2016\/10\/vocal-exercises-14.mp3<\/a><\/audio>\n

\u00a0<\/strong><\/p>\n

 <\/p>\n

8-note scale: E4 \u2013 F \u2013 F# \u2013 G \u2013 G# \u2013 A \u2013 A# \u2013 B \u2013 A# \u2013 A \u2013 G# \u2013 G \u2013 F# \u2013 F \u2013 E<\/p>\n

\u00a0(Do\u00a0\u00a0 Ra\u00a0 Re\u00a0\u00a0 Me\u00a0\u00a0 Mi\u00a0\u00a0\u00a0 Fa\u00a0\u00a0 Fi\u00a0\u00a0\u00a0 Sol\u00a0 Fi\u00a0\u00a0\u00a0\u00a0 Fa\u00a0\u00a0 Mi\u00a0\u00a0\u00a0\u00a0 Me\u00a0 Re\u00a0\u00a0 Ra Do)<\/p>\nhttps:\/\/www.musikalessons.com\/blog\/wp-content\/uploads\/2016\/10\/vocal-Exercise-19.mp3<\/a><\/audio>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong>Trumpet Vocalise<\/em><\/h4>\n

\u00a0<\/em><\/p>\n

This clever exercise comes from my fabulous former voice teacher at The Boston Conservatory. She took a warm-up drill used by trumpet players and adapted it for singers\u2014the result is a vocal exercise that not only challenges the vocalist\u2019s agility but also challenges the brain. This exercise can be broken up into two parts, and I would highly recommend practicing each part separately before combining them into one sequence. When first learning this exercise, try singing each pitch on \u201cDi\u201d (pronounced \u201cdee\u201d) in the middle of the vocal range, working your way up by half step with each repetition. Using the \u201cd\u201d consonant will keep the pitches precise and articulated. Then, try eliminating the consonant and singing the vocalise as a legato vowel exercise. Keep your tempo slower at first, gradually speeding up once you feel comfortable and confident.<\/p>\n

Part 1: E4 \u2013 F# \u2013 G# \u2013 E \u2013 F# \u2013 G# \u2013 A \u2013 F# \u2013 D# \u2013 E \u2013 F# \u2013 D# \u2013 E<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (Do \u00a0\u00a0Re\u00a0 \u00a0\u00a0Mi\u00a0 \u00a0\u00a0\u00a0Do \u00a0Re\u00a0 \u00a0Mi \u00a0\u00a0\u00a0\u00a0Fa \u00a0Re \u00a0\u00a0\u00a0Ti\u00a0\u00a0\u00a0 \u00a0Do \u00a0\u00a0\u00a0Re \u00a0Ti \u00a0\u00a0\u00a0\u00a0Do)<\/p>\nhttps:\/\/www.musikalessons.com\/blog\/wp-content\/uploads\/2016\/10\/vocal-exercises-15.mp3<\/a><\/audio>\n

\u00a0<\/strong><\/p>\n

Part 2: E4 \u2013 G# \u2013 F# \u2013 E \u2013 F# \u2013 A \u2013 G# \u2013 F# \u2013 D# \u2013 F# \u2013 E \u2013 D# \u2013 E<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (Do \u00a0\u00a0\u00a0Mi \u00a0\u00a0\u00a0Re \u00a0\u00a0\u00a0Do \u00a0Re \u00a0\u00a0Fa\u00a0 \u00a0Mi\u00a0\u00a0\u00a0\u00a0 Re\u00a0\u00a0 Ti\u00a0\u00a0\u00a0\u00a0\u00a0 Re\u00a0\u00a0 Do \u00a0Ti \u00a0\u00a0\u00a0\u00a0Do)<\/p>\nhttps:\/\/www.musikalessons.com\/blog\/wp-content\/uploads\/2016\/10\/vocal-Exercise-17.mp3<\/a><\/audio>\n

\u00a0<\/strong><\/p>\n

 <\/p>\n

Sequence: Sing parts 1 and 2 as one continuous musical phrase<\/em><\/p>\nhttps:\/\/www.musikalessons.com\/blog\/wp-content\/uploads\/2016\/10\/vocal-Exercise-18.mp3<\/a><\/audio>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/em><\/p>\n

Trills<\/em><\/h4>\n

Any singer learning classical technique will encounter trills at some point in his or her studies. Although trills typically take some time to learn accurately and are rarely sung out of the context of a song or aria, practicing singing them provides some wonderful vocal exercises. Start by choosing a pitch higher in the vocal range but still comfortable and easy to sing. Sing the chosen pitch, and then sing one pitch down the scale, immediately returning up the starting pitch. Flip between the two pitches for a few repetitions, gradually increasing speed. Try this same exercise in several places throughout the vocal range. The key to successfully increasing the speed of the flip between the two pitches is to keep the voice light and agile; eventually, the flipping will turn into a seamless flutter in which both pitches are fused into one continuous sound. Remember\u2014this particular exercise takes time to feel comfortable. Start slow and practice consistently. Listen to the audio example for a demonstration:<\/p>\nhttps:\/\/www.musikalessons.com\/blog\/wp-content\/uploads\/2016\/10\/vocal-Exercise-26.mp3<\/a><\/audio>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

Practice Plan
\n<\/strong><\/h2>\n

\u00a0<\/strong><\/p>\n

I\u2019ve outlined a typical vocal exercises warm-up plan that any singer can use and customize to his or her own experience level and needs. When designing your individual practice plan, keep the following guidelines in mind:<\/p>\n

 <\/p>\n

 <\/p>\n