Kari Ragan, DMA, MM, BM is both an academic and private voice studio teacher. At the University of Washington, Dr. Ragan teaches voice and voice pedagogy, and works in affiliation with the Laryngology program as a singing voice specialist (SVS) to rehabilitate injured singers. She has maintained a thriving independent studio teaching both classical and Contemporary Commercial Music (CCM) genres to professional and avocational singers for over thirty-five years. She regularly appears as a workshop and master class clinician, and has presented multiple lectures at prestigious voice conferences.

• PrefaceAcknowledgementsDedicationChapter 1. A Systematic ApproachThe Heuristic Nature of a Systematic ApproachKinesthetic Singing ToolsConsiderations for Alterations of Vocal ExercisesSummaryReferencesSelected ResourcesChapter 2. The Twenty-First Century Voice TeacherThe Benefits of Cross-training the Voice AthleteVoice HabilitationVocal Warm-ups Versus Vocal Function ExercisesMotor Learning Theory and the SingerSummaryReferencesChapter 3. A Systematic Approach to RespirationOverview of RespirationInhalationExhalationTeacher Takeaways of RespirationApplication of RespirationBody Awareness ExercisesExercise 3-1 Large Ball~Stretching and Lengthening Exercise 3-2 Large Ball~Posture and AlignmentCoordination ExercisesExercise 3-3 Sustaining Unvoiced ConsonantsExercise 3-4 Rhythmic Patterns on Unvoiced Consonant /s/, /f/, / /, / /Exercise 3-5 Alternating Unvoiced/Voiced Consonant PairsExercise 3-6 Flow-ball by POWERbreatheExercise 3-7 Flow-ball Voiceless StaccatoExercise 3-8 Flow-ball Voiceless Messa di VoceExercise 3-9 Flow-ball Voiced "Flownation"Breath Depletion ExercisesExercise 3-10 Breath Depletion Prior to InhalationExercise 3-11 Breath Depletion ConditioningAdding Resonance with /m/ Exercise 3-12 / um/ PatternsRib Cage Expansion Exercise 3-13 Exercise BandRespiratory Release Exercise 3-14 Pelvic Floor ReleaseExercise 3-15 Xiphoid Process Area ReleaseCore Engagement Exercise 3-16 Encouraging Core Engagement Through Exercise BallsExercise 3-17 Large Ball SquatExercise 3-18 Exercise Band Core EngagementSummaryReferencesSelected ResourcesChapter 4. A Systematic Approach to PhonationOverview of PhonationTeacher Takeaways of PhonationOverview of Semi-Occluded Vocal Tract (SOVT) PosturesDiameter of Straw or TubeLength of Straw or TubeMaterial of Straw or TubeStraw or Tube in Water (Water Bubbles) The Use of an Anesthesia Mask to Facilitate an SOVT PostureTeacher Takeaways for SOVT PosturesApplication of Phonation Straw Phonation/Pitch GlidesExercise 4-1 Straw Phonation Pitch Glides~Small IntervalsExercise 4-2 Straw Phonation Pitch Glides~Full RangeExercise 4-3 Straw Phonation Pitch Glides~ Varying IntervalsExercise 4-4 Straw Phonation ScalesExercise 4-5 Straw Phonation Pitch Glides to VowelsWater BubblesExercise 4-6 Water Bubble Pitch GlidesExercise 4-7 Water Bubble RepertoireLip TrillsExercise 4-8 Arpeggio Lip TrillsExercise 4-9 Chromatic Lip TrillsVocal Onsets and Offsets Exercise 4-10 Mastering StaccatoExercise 4-11 Water Bubble StaccatoExercise 4-12 Staccato to LegatoVocal Fry Exercise 4-13 Vocal Fry~SustainingExercise 4-14 Vocal Fry to Chest RegistrationExercise 4-15 Vocal Fry to Head Registration SummaryReferencesSelected ResourcesChapter 5. A Systematic Approach to RegistrationOverview of Registration Teacher Takeaways of RegistrationApplication of RegistrationFemale Head Registration Isolation Exercise 5-1 Soft /u/~Secondo Passaggio Exercise 5-2 Sustained Head Registration IsolationExercise 5-3 Head Register Isolation CrescendoExercise 5-4 Advanced Head Register IsolationExercise 5-5 Advanced Head Registration~Bel Canto InspiredMale Head Registration Isolation Exercise 5-6 Soft /u/ for Balanced RegistrationExercise 5-7 Head Registration Isolation Through Variation of Dynamics and VowelsExercise 5-8 Building a Bridge Across RegistersMale Registration CoordinationExercise 5-9 Using Head Registration to Develop High Notes in Chest RegistrationExercise 5-10 Messa di Voce Through the Secondo PassaggioFemale Chest Registration Isolation Exercise 5-11 Chest Registration IsolationExercise 5-12 Using Head Registration to Facilitate Efficient Chest RegistrationExercise 5-13 Building a Bridge to Belting Mixed Registration for a Broad Spectrum of SoundExercise 5-14 "Meow" ~ CCM Mixed Registration Exercise 5-15 "My" ~ CCM Mixed RegistrationExercise 5-16 Arpeggio~Mixed RegistrationExercise 5-17 Ode to Joan LaderExercise 5-18 Alternating RegistrationExercise 5-19 Mastering Messa di VoceSummaryReferencesSelected ResourcesChapter 6. A Systematic Approach to ArticulationOverview of ArticulationThe JawThe TongueThe Soft PalateThe PharynxTeacher Takeaways of ArticulationApplication of ArticulationJaw StretchesExercise 6-1 Preparing the Jaw Jaw Voiced ExercisesExercise 6-2 Wine Cork Between Front TeethExercise 6-3 Wine Cork Between MolarsExercise 6-4 Masseter Muscle ReleaseTongue StretchesExercise 6-5 Tongue Out StretchExercise 6-6 Tongue Curl StretchExercise 6-7 Underside of Tongue StretchExercise 6-8 Circular Tongue StretchTongue Voice ExercisesExercise 6-9 Dental ConsonantsExercise 6-10 Palatal Consonants Exercise 6-11 Developing Jaw and Tongue Independence Exercise 6-12 Voiced Raspberry and Tongue TrillsExercise 6-13 Base of Tongue DisengagementExercise 6-14 Candy on the TongueExercise 6-15 Gauze on the TongueExercise 6-16 Ode to Barbara DoscherExercise 6-17 Dental/Palatal Consonant CombinationsSoft Palate StretchesExercise 6-18 Isolating the Soft Palate ActivationExercise 6-19 Soft Palate Exploration with VoicingExercise 6-20 Using Nasality to Explore the Contrast of Soft Palate ElevationExercise 6-21 Thumb in Mouth Against the Soft PalateSummaryReferencesSelected ResourcesChapter 7. A Systematic Approach to ResonanceOverview of ResonanceHigh Frequency Spectral Content: Vocal RingClassical Singer's Lofted Resonance StrategyCCM Singer's Brassy (Twang) Resonance StrategyWestern Classical Vs. CCMTeacher TakeawaysApplication of ResonanceExercise 7-1 Chant Speech~HummingExercise 7-2 Pitch Glides~HummingExercise 7-3 Using /hm/ to Facilitate Resonance Exercise 7-4 Ode to Ellen Faull Exercise 7-5 Alternating /hm/ with a Vowel SeriesExercise 7-6 Bending Forward Exercise 7-7 Lying Over A BallExercise 7-8 Chopstick Between the TeethExercise 7-9 Retroflex / /Exercise 7-10 Y-Buzz Exercise 7-11 Facilitating Brassy Resonance~TwangChapter 8. Sample Vocal Warm-up RoutinesClassical Female (Middle/High School, Undergraduate, Avocational Singer)Classical Female (Undergraduate/Graduate, Emerging Professional, Professional Singer)Classical Male (Middle/High School, Undergraduate, Avocational Singer)Classical Male (Undergraduate/Graduate, Emerging Professional, Professional Singer)Contemporary Commercial Music (CCM) Female (Beginner/Intermediate)Contemporary Commercial Music (CCM) Female (Intermediate/Advanced)Contemporary Commercial Music (CCM) Male (Beginner/Intermediate)Contemporary Commercial Music (CCM) Male (Intermediate/Advanced)Index

Kari Ragan, DMA, MM, BM is both an academic and private voice studio teacher. At the University of Washington, Dr. Ragan teaches voice and voice pedagogy, and works in affiliation with the Laryngology program as a singing voice specialist (SVS) to rehabilitate injured singers. She has maintained a thriving independent studio teaching both classical and Contemporary Commercial Music (CCM) genres to professional and avocational singers for over thirty-five years. She regularly appears as a workshop and master class clinician, and has presented multiple lectures at prestigious voice conferences.

• PrefaceAcknowledgementsDedicationChapter 1. A Systematic ApproachThe Heuristic Nature of a Systematic ApproachKinesthetic Singing ToolsConsiderations for Alterations of Vocal ExercisesSummaryReferencesSelected ResourcesChapter 2. The Twenty-First Century Voice TeacherThe Benefits of Cross-training the Voice AthleteVoice HabilitationVocal Warm-ups Versus Vocal Function ExercisesMotor Learning Theory and the SingerSummaryReferencesChapter 3. A Systematic Approach to RespirationOverview of RespirationInhalationExhalationTeacher Takeaways of RespirationApplication of RespirationBody Awareness ExercisesExercise 3-1 Large Ball~Stretching and Lengthening Exercise 3-2 Large Ball~Posture and AlignmentCoordination ExercisesExercise 3-3 Sustaining Unvoiced ConsonantsExercise 3-4 Rhythmic Patterns on Unvoiced Consonant /s/, /f/, / /, / /Exercise 3-5 Alternating Unvoiced/Voiced Consonant PairsExercise 3-6 Flow-ball by POWERbreatheExercise 3-7 Flow-ball Voiceless StaccatoExercise 3-8 Flow-ball Voiceless Messa di VoceExercise 3-9 Flow-ball Voiced "Flownation"Breath Depletion ExercisesExercise 3-10 Breath Depletion Prior to InhalationExercise 3-11 Breath Depletion ConditioningAdding Resonance with /m/ Exercise 3-12 / um/ PatternsRib Cage Expansion Exercise 3-13 Exercise BandRespiratory Release Exercise 3-14 Pelvic Floor ReleaseExercise 3-15 Xiphoid Process Area ReleaseCore Engagement Exercise 3-16 Encouraging Core Engagement Through Exercise BallsExercise 3-17 Large Ball SquatExercise 3-18 Exercise Band Core EngagementSummaryReferencesSelected ResourcesChapter 4. A Systematic Approach to PhonationOverview of PhonationTeacher Takeaways of PhonationOverview of Semi-Occluded Vocal Tract (SOVT) PosturesDiameter of Straw or TubeLength of Straw or TubeMaterial of Straw or TubeStraw or Tube in Water (Water Bubbles) The Use of an Anesthesia Mask to Facilitate an SOVT PostureTeacher Takeaways for SOVT PosturesApplication of Phonation Straw Phonation/Pitch GlidesExercise 4-1 Straw Phonation Pitch Glides~Small IntervalsExercise 4-2 Straw Phonation Pitch Glides~Full RangeExercise 4-3 Straw Phonation Pitch Glides~ Varying IntervalsExercise 4-4 Straw Phonation ScalesExercise 4-5 Straw Phonation Pitch Glides to VowelsWater BubblesExercise 4-6 Water Bubble Pitch GlidesExercise 4-7 Water Bubble RepertoireLip TrillsExercise 4-8 Arpeggio Lip TrillsExercise 4-9 Chromatic Lip TrillsVocal Onsets and Offsets Exercise 4-10 Mastering StaccatoExercise 4-11 Water Bubble StaccatoExercise 4-12 Staccato to LegatoVocal Fry Exercise 4-13 Vocal Fry~SustainingExercise 4-14 Vocal Fry to Chest RegistrationExercise 4-15 Vocal Fry to Head Registration SummaryReferencesSelected ResourcesChapter 5. A Systematic Approach to RegistrationOverview of Registration Teacher Takeaways of RegistrationApplication of RegistrationFemale Head Registration Isolation Exercise 5-1 Soft /u/~Secondo Passaggio Exercise 5-2 Sustained Head Registration IsolationExercise 5-3 Head Register Isolation CrescendoExercise 5-4 Advanced Head Register IsolationExercise 5-5 Advanced Head Registration~Bel Canto InspiredMale Head Registration Isolation Exercise 5-6 Soft /u/ for Balanced RegistrationExercise 5-7 Head Registration Isolation Through Variation of Dynamics and VowelsExercise 5-8 Building a Bridge Across RegistersMale Registration CoordinationExercise 5-9 Using Head Registration to Develop High Notes in Chest RegistrationExercise 5-10 Messa di Voce Through the Secondo PassaggioFemale Chest Registration Isolation Exercise 5-11 Chest Registration IsolationExercise 5-12 Using Head Registration to Facilitate Efficient Chest RegistrationExercise 5-13 Building a Bridge to Belting Mixed Registration for a Broad Spectrum of SoundExercise 5-14 "Meow" ~ CCM Mixed Registration Exercise 5-15 "My" ~ CCM Mixed RegistrationExercise 5-16 Arpeggio~Mixed RegistrationExercise 5-17 Ode to Joan LaderExercise 5-18 Alternating RegistrationExercise 5-19 Mastering Messa di VoceSummaryReferencesSelected ResourcesChapter 6. A Systematic Approach to ArticulationOverview of ArticulationThe JawThe TongueThe Soft PalateThe PharynxTeacher Takeaways of ArticulationApplication of ArticulationJaw StretchesExercise 6-1 Preparing the Jaw Jaw Voiced ExercisesExercise 6-2 Wine Cork Between Front TeethExercise 6-3 Wine Cork Between MolarsExercise 6-4 Masseter Muscle ReleaseTongue StretchesExercise 6-5 Tongue Out StretchExercise 6-6 Tongue Curl StretchExercise 6-7 Underside of Tongue StretchExercise 6-8 Circular Tongue StretchTongue Voice ExercisesExercise 6-9 Dental ConsonantsExercise 6-10 Palatal Consonants Exercise 6-11 Developing Jaw and Tongue Independence Exercise 6-12 Voiced Raspberry and Tongue TrillsExercise 6-13 Base of Tongue DisengagementExercise 6-14 Candy on the TongueExercise 6-15 Gauze on the TongueExercise 6-16 Ode to Barbara DoscherExercise 6-17 Dental/Palatal Consonant CombinationsSoft Palate StretchesExercise 6-18 Isolating the Soft Palate ActivationExercise 6-19 Soft Palate Exploration with VoicingExercise 6-20 Using Nasality to Explore the Contrast of Soft Palate ElevationExercise 6-21 Thumb in Mouth Against the Soft PalateSummaryReferencesSelected ResourcesChapter 7. A Systematic Approach to ResonanceOverview of ResonanceHigh Frequency Spectral Content: Vocal RingClassical Singer's Lofted Resonance StrategyCCM Singer's Brassy (Twang) Resonance StrategyWestern Classical Vs. CCMTeacher TakeawaysApplication of ResonanceExercise 7-1 Chant Speech~HummingExercise 7-2 Pitch Glides~HummingExercise 7-3 Using /hm/ to Facilitate Resonance Exercise 7-4 Ode to Ellen Faull Exercise 7-5 Alternating /hm/ with a Vowel SeriesExercise 7-6 Bending Forward Exercise 7-7 Lying Over A BallExercise 7-8 Chopstick Between the TeethExercise 7-9 Retroflex / /Exercise 7-10 Y-Buzz Exercise 7-11 Facilitating Brassy Resonance~TwangChapter 8. Sample Vocal Warm-up RoutinesClassical Female (Middle/High School, Undergraduate, Avocational Singer)Classical Female (Undergraduate/Graduate, Emerging Professional, Professional Singer)Classical Male (Middle/High School, Undergraduate, Avocational Singer)Classical Male (Undergraduate/Graduate, Emerging Professional, Professional Singer)Contemporary Commercial Music (CCM) Female (Beginner/Intermediate)Contemporary Commercial Music (CCM) Female (Intermediate/Advanced)Contemporary Commercial Music (CCM) Male (Beginner/Intermediate)Contemporary Commercial Music (CCM) Male (Intermediate/Advanced)Index