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vocal flexibility. By leveraging these shared principles, warm-up routines for the different requirements of re-
the choral director can effectively nurture individuals hearsal and performance.
and foster their growth, paving the way for their success The duality of the choral director’s role presents
within the ensemble and beyond. immense potential for integrating effective warm-ups
In recognition of the duality of choral directors’ that address both the physiological and psychologi-
influence, there is an opportunity to provide guidance cal dimensions of the singing voice. However, to fully
and instruction to choral singers for the development leverage this potential, it is essential for voice profes-
of essential skills for effective participation while equip- sionals (choral directors, singing voice teachers, speech
ping them with the necessary tools to enhance individ- pathologists, voice researchers) to bridge the gap in ter-
ual vocal technique. It is appropriate to note though minologies and methods. This has the potential then
that both solo and choral singers must adjust their vocal to establish a cohesive and comprehensive framework
technique to accommodate the distinct requirements for warming up. The first step in this direction is to
of each context. This entails adapting phonation and recognise that any singing—whether choral or solo—
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articulation to achieve a vocal “blend” while also main- exists on a continuum, from initiation of tone (where
taining engaged respiration, physical freedom, and vo- warming up is usually undertaken), to more target-
cal flexibility. The latter essential elements are shared ed and technical exercises, to rehearsing repertoire,
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by both solo and choral singing. In the context of any and ultimately, to performance. When seen this way,
singing training, teachers should adopt distinct and in- warming-up a choir for routine rehearsal (including
tentional approaches to warm-ups used in lessons, re- achieving mental focus and technical development) or
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hearsals, and preperformance. Simply going through warming up for performance (to achieve energized,
a standard routine of vocal exercises without intent confident performance readiness) should take different
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serves no purpose. forms and contexts. Based on the literature detailed in
To attain optimal outcomes, it is crucial for teachers our discussion, we make the following distinctions in
and directors to set clear objectives for both choir and categorizing choral warm-ups and their contexts that
solo singers and to customize vocal exercises according- bridge the fields of singing voice pedagogy and voice
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ly. By adapting their methods to support the unique science: (a) preparation exercises, (b) functional exercis-
needs and goals of individual performers, singing voice es for efficient and healthy vocal delivery, (c) vocal tech-
teachers can provide tailored guidance and ensure that
warm-up routines align effectively with the specific re-
quirements of solo singing. Similarly, in adopting a dual
role, choral directors can design warm-ups that account
for the types of warm-ups suited to their groups and to
the development of the singers within them.
When preparing for performance, in our experience
it is crucial to create warm-up routines that recognize
both the physical and psychological aspects of singing,
all aimed at achieving captivating and engaging per-
formances. Such warm-ups may encompass a range of
rituals, vocal exercises, and mental strategies designed
to enhance confidence, concentration, and overall stage
presence. Unlike vocal function and technique exercis-
es geared towards voice production and development,
pre-performance warm-ups create a state of readiness
and cultivate an optimal performance mindset for both
solo singers and choir members alike. Therefore, choral
directors might wish to reflect on how to best tailor their

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