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or piano and place tally marks next to singers’ names ers to inhale for a slow count to four, then count sing
when you see them with incorrect posture. Each tally to eight on a unison pitch or chord without taking a
mark or collection of marks could be a certain num- breath. The count singing can be increased to twelve,
ber of points off their grade. These assessments can sixteen, or twenty. Adolescent singers will enjoy singing
be announced or unannounced, with unannounced patterns or short songs on one breath such as the exer-
assessments being especially effective. If students are cise in Figure 1. Have singers sing the exercise as writ-
unaware of which day (or week) you are observing ten then add a repetition of measure two each subse-
their posture for a grade, they may be more inclined quent time it is sung. As with the count singing exercise,
to consistently exhibit correct posture, which may in it is important to encourage singers to not “squeeze”
turn promote good posture habits. Posture observation out the tone if they begin running out of breath. Lack
quizzes are standard-based and are an alternative as- of airflow during phonation will cause the vocal cords
sessment to participation-based grades prohibited in to close. Trying to phonate with closed vocal folds may
some school systems. result in vocal cord strain.

Three. Four.
Practice Breathing Exercises Work on Vocal Resonance and Placement

Establishing correct breathing habits should occur Resonance can be difficult to define and understand.
immediately after establishing an efficient singing pos- Brenda Smith and Robert Thayer Sataloff describe it
ture. As Robert Garretson says, “[Correct breathing] in this way:
is necessary to ensure the steady flow of the breath to
the vocal cords and is fundamental to both tone qual- Resonance for singing occurs when the sound
ity and tone control.” As with posture, good breath- waves produced in the vocal mechanism travel
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ing techniques are not natural for most singers, so it is through the high structures of the vocal tract.
important to include at least one breathing exercise in The resonators (the pharynx, the oral cavity,
the daily warm-up routine. There are many excellent and the nasal cavities) work together to shape
sources for breathing exercises, including The Breathing the acoustical properties from the frequencies
Gym by Sam Pilafian and Patrick Sheridan. Of partic- set forth by the vocal folds (voice source sig-
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ular note are the exercises that mirror phrasing used in nal).
singing. It is also helpful to have your singers phonate
(produce vocal sounds) while practicing breathing. Lip Simply put, resonance is an amplification of the
trills can be a helpful way to begin phonation in the sound as it moves from the larynx into the throat and
warm-up process, and the gradual release of air while mouth area (Figure 2 on the next page). Middle school
performing the trills helps to develop good breath sup- students might understand resonance as “a way to be
port. heard clearly without trying to sing louder.” Two focal
Other beneficial exercises include instructing sing- areas when working toward more resonance are creat-

CHORAL JOURNAL May 2025 Volume 65 Number 8 11