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<strong>Vocal</strong> <strong>Warmups</strong> <strong>Book</strong><br />
Ben Colgan
1<br />
The "STABLE" Warmup Process<br />
S - Stretch - Lead the ensemble in various stretches. An ensemble member may lead this as well.<br />
T - Talk - If ensemble members are still learning about how to stand, breathe properly, etc., now<br />
is the time to briefly discuss and fix any issues.<br />
A - Alignment - Ask ensemble to stand tall with the chest lifted, the diaphragm engaged and the<br />
neck and upper back relaxed. Encourage them to relax the trapezius.<br />
B - Breathing exercises - Encourage relaxation and keeping the shoulders back and down.<br />
These can be done lying down as well.<br />
-Breathe in for 4 beats<br />
-Suspend for 4 beats (Don't use the word "hold." That is a tense word.)<br />
-Exhale on s, f, sh, etc. for 4<br />
-Repeat, exhaling for 8 beats, then 12, then 16. Make sure that you don't go too<br />
slowly as this will exhaust your ensemble. Ask that they pace their breath so<br />
they use all of their air during the exhale.<br />
L - Lip Trills - Begin with pulses and sirens. One exercise using lip trills can be found below. Some<br />
other exercises in this book may also be done on lip trills.<br />
E - Exercises - Various other exercises are found in this book. Pick a few warmups from the Basic<br />
<strong>Warmups</strong>, then end with one or two from the Fun <strong>Warmups</strong> section.<br />
Start in A and ascend to A<br />
Make sure everything is legato and that the breath is consistent<br />
4<br />
& 4<br />
A E A B¨ F B¨ B<br />
œ œ# œœœœ# œ œ œ<br />
Œ<br />
etc.<br />
bœ<br />
œœbœœœœœ œ Œ œ# œ# œœ# œœœœ œ Œ œœœœœœœœœ Œ
Start in A and ascend to C#<br />
Emphasize use of belly pull. Can be done on a lip trill (legato). 8th notes staccato, quarter notes tenuto<br />
&<br />
A<br />
E<br />
A<br />
B¨<br />
Basic <strong>Warmups</strong><br />
Ya ha ha ha ha Ya ha ha ha ha etc.<br />
F<br />
B¨<br />
B<br />
œ# œ œ œ œ Œ bœ<br />
œ œ œ œ Œ nœ<br />
# œ# œ œ nœ<br />
Œ œ œ œ œ œ Œ<br />
etc.<br />
2<br />
5<br />
4<br />
&<br />
Start in A and ascend to D<br />
Emphasize use of belly pull. 8th notes staccato, quarter notes tenuto<br />
5<br />
4<br />
A<br />
E<br />
Ya ha ha (snap) ha ha<br />
A B¨<br />
F<br />
B¨ B<br />
œ # œ œ ¿ œ<br />
. œ Œ bœ<br />
œ œ ¿ œ<br />
. œ Œ œ # œ # œ<br />
Ya ha ha (snap) ha ha<br />
etc.<br />
etc.<br />
¿. œ œ Œ œ œ œ ¿.<br />
œ œ Œ<br />
4<br />
&<br />
Start in E and descend to E<br />
Can be done on a lip trill<br />
E<br />
E¨<br />
4<br />
œ œ# œ# œ œ Œ bœ<br />
Sigh oh I oh I<br />
bœ<br />
œ œbœ<br />
Sigh oh I oh I<br />
D<br />
Œ<br />
etc.<br />
œ œ# œ œ œ Œ bœbœ<br />
etc.<br />
œbœ<br />
bœ<br />
Œ<br />
Start in E and descend to E<br />
"Ugly," nasaly, with frontal placement<br />
&<br />
E<br />
-<br />
œ n-œ<br />
#<br />
-<br />
œ #-œ<br />
n-œ<br />
E¨<br />
Œ b<br />
-<br />
œ b-œ<br />
-<br />
œ<br />
-œ b-œ<br />
Meow meow meow meow meow meow meow meow meow meow<br />
D<br />
etc.<br />
Œ<br />
-œ -<br />
œ# œ - ---<br />
œœ Œ bœb --<br />
œœb-œ<br />
b-œ<br />
Œ<br />
etc.<br />
Start in A and ascend to G<br />
Use the "z" to jumpstart the breath<br />
A<br />
B‹ E A B¨<br />
&<br />
œ # œ œ œ # œœ œœ# œ# œœœ# œ œ œ<br />
Zee<br />
ah<br />
Œ<br />
B¨<br />
bœ<br />
Zee<br />
ah<br />
C‹ F B¨ B<br />
œ œbœ<br />
œœ œbœ<br />
œœœbœ<br />
œœbœ<br />
Œ
3<br />
Start in E and descend to G<br />
If people are having trouble with the lydian mode, have them rise onto their toes on the #4<br />
&<br />
E<br />
nœ. # œ. # œ. # œ. nœ.<br />
Ya ha ha ha ha<br />
E¨<br />
Œ<br />
bœ. nœ. œ. œ. bœ.<br />
Ya ha ha ha ha<br />
D<br />
Œ<br />
etc.<br />
œ. # œ. # œ. œ. œ .<br />
.<br />
Œ bœ<br />
nœ. œ. bœ. bœ.<br />
etc.<br />
Œ<br />
Start in A and ascend to A<br />
Emphasize articulation, especially consonants. W is pronounced as "double-u"<br />
&<br />
A<br />
E<br />
A<br />
E<br />
A<br />
E<br />
A E7 A<br />
œ œ# œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ<br />
A<br />
B<br />
C D E F G H I J K L M N O P Q R S T U V W<br />
X<br />
Y<br />
Z<br />
B¨<br />
Œ<br />
Start in A and ascend to B<br />
Upbeat tempo, this is an agility exercise<br />
&<br />
A<br />
E A B¨<br />
F B¨ B etc.<br />
3 3 3 3 3 3 3 3<br />
œ œ# œ œ œ œ œ Œ bœ<br />
Ta ta ta ta ta ta ta<br />
œ œbœ<br />
œ œ œ Œ<br />
Ta ta ta ta ta ta ta<br />
œ# œ# œ œ œ œ œ Œ œ œ œ œ œ œ œ Œ<br />
etc.<br />
Start in E and descend to E<br />
Make sure everyone is matching vowel shapes. Have singers look at one another. For "may," don't close to<br />
the "y" until the very last second.<br />
E<br />
E¨<br />
D etc.<br />
&<br />
œ œ # œ # œ œ Œ bœ<br />
Mah me may mo moo<br />
bœ<br />
œ œ bœ<br />
Mah me may mo moo<br />
Œ<br />
œ œ# œ œ œ Œ bœbœ<br />
œbœbœ<br />
etc.<br />
Œ<br />
5<br />
4<br />
&<br />
Start in A and ascend to G (possibly A)<br />
Emphasize proper articulations<br />
A<br />
B¨<br />
etc.<br />
3<br />
3 3 3 3 3 3 3 3<br />
5<br />
4<br />
. . .<br />
œ# œ œœ œ œ œ œ # œ œ<br />
Zee<br />
ah ha ha ha<br />
Œ<br />
bœœ œ œ<br />
b œ œ œ œ œ œ Œ œ# œ# œ œ œ œ œ œ œ œ Œ<br />
Zee ah ha ha ha etc.<br />
3<br />
4
4<br />
&<br />
Start in A and ascend to G (You may go higher or lower depending on the ensemble)<br />
Belting exercise. Have ensemble speek the words in a powerful, resonant manner before adding pitch<br />
A<br />
B¨<br />
B<br />
etc.<br />
3<br />
4<br />
œ<br />
Hey<br />
œ<br />
guys<br />
Œ<br />
œ<br />
Hey<br />
bœ<br />
guys<br />
Œ<br />
# œ<br />
(etc.)<br />
œ<br />
Œ<br />
œ<br />
œ<br />
Œ<br />
4<br />
&<br />
Start in E and ascend to C<br />
Emphasize breath, using the consonant to propell the air into the vowel<br />
A<br />
A B¨<br />
4<br />
œ<br />
œ<br />
œ œ # œ œ œ<br />
Œ Ó œ<br />
bœ<br />
œ œ œ œ bœ<br />
B¨<br />
Œ<br />
B<br />
Ó<br />
3<br />
4<br />
V<br />
Vee<br />
V<br />
Vee<br />
&<br />
Start in A and ascend to A<br />
Connecting the different areas of the voice. You may choose to have the ensemble do a 5th or an octave<br />
A<br />
B¨<br />
B<br />
C<br />
3<br />
4<br />
œ<br />
Yah<br />
œ<br />
hoo<br />
Œ<br />
bœ<br />
Yah<br />
bœ<br />
hoo<br />
Œ<br />
œ<br />
(etc.)<br />
# œ Œ<br />
œ<br />
œ<br />
Œ<br />
4<br />
Start in E and descend to E<br />
You may want to remind the ensemble to use more air as they sing lower and lower. Can be done on a<br />
lip trill<br />
E<br />
E¨<br />
D<br />
&<br />
4<br />
œ œ # œ œ<br />
Way<br />
# œ œ œ # œ ˙<br />
ah way ah way<br />
Ó<br />
bœ<br />
œ bœ<br />
œ œ bœ<br />
œ œ b˙<br />
Way ah way ah way<br />
Ó<br />
Start in A and ascend to G<br />
Take it slow and use minimal piano. Focus on the tuning of the notes<br />
A<br />
B¨<br />
&<br />
œ œ œ# œ œ œ œ œ ˙<br />
Oo<br />
Ó<br />
bœ<br />
œ œ œ bœ<br />
bœ<br />
œ œ b˙<br />
Oo<br />
B<br />
Ó<br />
# #<br />
#
5<br />
Fun <strong>Warmups</strong><br />
°<br />
& # # #<br />
Start in A and ascend to C (a minor third above)<br />
-When the ensemble is first learning this exercise, conduct them in a constant tempo very clearly.<br />
-Once they have learned the parts, conduct them slightly rubato and with varying dynamics each time to<br />
encourage watching the conductor.<br />
-When the ensemble is very comfortable with this warmup, simply give them the key and have them do it<br />
on their own (Don't conduct. Tell them to breathe together and listen to one another). They should also<br />
release together. If someone is using hands in the ensemble, tell them not to. Head nods are ok.<br />
-Encourage the ensemble to vary the dynamics as a collective each time.<br />
Make sure that the ensemble is using tall vowels and tuning properly. This is a great exercise for building<br />
a unified ensemble sound, (you may even tell them that that is your goal)and it also makes them less<br />
reliant on the conductor.<br />
Rubato (if desired)<br />
Do<br />
Dictated<br />
U U U #<br />
œ œ œ œ œ œ œ œ w w w w<br />
re mi fa sol la ti do ti do<br />
& # # # U U U #<br />
œ œ œ œ œ œ œ œ œ œ œ œ w ˙ œ œ w<br />
Do re mi fa sol la ti do ti la sol fa mi re mi<br />
#<br />
& #<br />
# U U U #<br />
‹ œ œ œ œ œ œ œ œ œ œ ˙ w w w<br />
Do re mi fa sol la ti do ti la sol<br />
?#<br />
¢ #<br />
# U U U U #<br />
œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙˙<br />
w w<br />
Do re mi fa sol la ti do ti la sol fa mi re sol do<br />
3<br />
4<br />
3<br />
4<br />
3<br />
4<br />
3<br />
4
6<br />
My Bonnie Lies Over The Ocean in G Major<br />
-Ask the cast to learn this tune (many will know it already) outside of rehearsal, or have them learn it<br />
during warmup time.<br />
-Once they know it sing it through once normally.<br />
-Split the ensemble into 4 groups. Assign each one of the following:<br />
1. Sing only vowels<br />
2. Sing only words starting with the letter B<br />
3. Sing only words starting with the letter M<br />
4. Sing everything not covered by the other parts (this is the "unlucky group")<br />
-Allow them time to think about it<br />
-Run it through once or twice, then switch up the groups<br />
-The last time, speed up as you go along<br />
This is a good warmup to get your ensemble thinking. Have them try to make the melody sound as<br />
coherent as possible despite it being divided between groups.<br />
& #<br />
3<br />
4<br />
Give an intro using<br />
the last 4 bars<br />
G<br />
My Bon-nie<br />
lies o-ver<br />
the o<br />
C<br />
G<br />
Ó œ<br />
œ œ j œ œ œ œ œ ˙ œ Œ œ œ œ j œ œ œ œ ˙ œ Œ œ<br />
cean,<br />
My Bon-nie<br />
lies o-ver<br />
the sea;<br />
A<br />
D<br />
D7<br />
My<br />
& #<br />
G<br />
C<br />
G<br />
œ œ j œ œ œ œ œ ˙ œ Œ œ œ œ œ œ œ œ ˙ ˙ Œ<br />
Bon-nie<br />
lies o - ver the o cean, Oh bring back my Bon-nie<br />
to me.<br />
C<br />
D<br />
G<br />
& #<br />
G<br />
Bring<br />
back,<br />
C<br />
bring<br />
back,<br />
D7<br />
˙ ˙ ˙ ˙ œ œ œ œ œ œ œ ˙ œ ˙ Œ<br />
Oh bring back my<br />
G<br />
Bon-nie<br />
to me,<br />
to<br />
me!<br />
G<br />
Bring<br />
back,<br />
C<br />
bring<br />
back,<br />
D7<br />
& # # #<br />
˙ ˙ ˙ ˙ œ œ œ œ œ œ œ ˙ ˙ Œ<br />
Oh bring back my<br />
G<br />
Bon-nie<br />
to me!<br />
4
7<br />
Start in D and ascend until you feel like stopping<br />
Stress the different articulations in this warmup. Use the staccato notes to jumpstart the breath.<br />
Feel free to vary the style as you go along. People always love this one!<br />
& # # 4<br />
D<br />
œ. œ .<br />
. œ. œ.<br />
œ œ œ œ œ. œ. œ.<br />
œ œ<br />
Ho<br />
E‹7<br />
ho ho ho - san - na Ha<br />
ha ha - le - lu - ja<br />
A<br />
œ<br />
& # #<br />
D<br />
E‹7<br />
A<br />
D<br />
œ. œ. œ. œ.<br />
œ œ œ œ œ œ œ œ œ œ<br />
He<br />
he he he saved us Sing<br />
in the name of the Lord!<br />
Œ<br />
b<br />
-First teach everyone the three parts of the round.<br />
-Divide the ensemble into three groups and appoint one group leader<br />
-Start everyone on part 1. (Acapella) At the end of each repetition, the leader of each group holds up<br />
the number of the part they want to sing on the next loop. It doesn't matter if every part doesn't<br />
happen each time.<br />
This is a good warmup to make the ensemble more attentive to one another and to just have a good time!<br />
The Fruit Round in F Major<br />
Part I<br />
& b œ œ œ œ œ œ œ œ œ œ<br />
œ œ œ œ œ œ œ œ ¿ ¿<br />
Man-go<br />
man-go<br />
man - go man-go<br />
man-go<br />
man-go<br />
man - go (Clap) (Clap)<br />
<br />
&b<br />
<br />
Part II<br />
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ<br />
Ki-wi<br />
ki-wi<br />
ki- wi Ki-wi<br />
ki-wi<br />
ki- wi Ki-wi<br />
ki-wi<br />
ki- wi Ki-wi<br />
ki-wi<br />
ki-<br />
wi<br />
<br />
Part III<br />
& b œ œ j œ œ Œ œ œ œ<br />
œ œ J<br />
œ œ Œ O O O Œ<br />
# #<br />
# ##<br />
A<br />
- na - nas Ba - na - nas A - na - nas Mmm!
8<br />
°<br />
& # # # # #<br />
Exploring Sound beginning in B Major<br />
This warmup works best with large groups, especially in good acoustic spaces.<br />
-Give the ensemble their starting pitches. Have them hold the chord, and then they may switch<br />
pitches to any note they want whenever they want. It does not have to be a note in the B Major<br />
scale.<br />
-Let things play out. Every now and then large dissonances may blossom into beautiful chords!<br />
-Eventually, you may end the warmup. You can indicate with your hands for them to decrescendo,<br />
hold the pitch they're on, etc. Whatever you think is best in the moment.<br />
√<br />
w<br />
& # # # # √ #<br />
w<br />
#<br />
& #<br />
# ## √<br />
w ‹<br />
?#<br />
¢ #<br />
# √ ## w
9<br />
Various Things to Note<br />
The range of these warmups is geared towards high school students and older. If you're working with<br />
a younger group, it is recommended that you reduce the range of the warmups. Be concious that<br />
middle schooler'ss voices will often be changing and their comfortable ranges may be small.<br />
If you're ensemble starts to get bored with the warmups you're using and you've already exhausted<br />
the ones that you have, ask one of your ensemble members or a friend if they know any useful or fun<br />
warmups. You never know what people may have up their sleeve!<br />
If a warmup has only one vowel, you may change it to a different one if you'd like. For example,<br />
the first warmup under "Basic <strong>Warmups</strong>" may be done on "ye," "yoo," etc. Be aware that some vowels<br />
like "ah" and "uh" make singing up higher in the range much easier.<br />
It is often beneficial to explain to your ensemble why you're doing a certain warmup, as it helps them<br />
focus on a certain goal. If the point of an exercise is to engage the diaphragm, then simply let the<br />
ensemble know. It makes everything much simpler!<br />
Know when to use certain warmups. If your ensemble is vocally tired from having many music<br />
rehearsals, spend more time on breathing, lip trills, and gentle warmups. Pushing your singers too<br />
hard could result in further vocal fatigue or damage to the voice. It is worthwhile to take a few voice<br />
lessons if you've never had one, just so you understand the mechanics and limits of the voice.<br />
Tailor your choice of warmups to your group. If you're working with a large choir, you may decide<br />
to avoid warmups involving belting, and focus more on warmups that involve tuning and tall vowel<br />
shapes.<br />
With any ensemble (especially student groups), it may not hurt (rather, it may be beneficial) to have<br />
a student run warmups from time to time. It is good experience for them and it allows you to take<br />
a step back and conciously observe the ensemble.<br />
While it is good to plan your warmups ahead, it is always good to change and adjust on the fly.<br />
Always pay attention to your ensemble when you're running warmups. You may find that you<br />
need to add in an extra high warmup if they need more. You may even encourage your ensemble<br />
members to speak up if they feel like they need to do additional warmups in a specific part of the<br />
range.<br />
Thank you for reading this <strong>Vocal</strong> <strong>Warmups</strong> <strong>Book</strong>! I hope that you get a lot of use out of the<br />
included exercises, and that you adapt them to make them uniquely yours as well! You're<br />
welcome to use this guide for free; however, if you feel so inclined do donate a few dollars<br />
for the work I put in it would be very much appreciated! You can Venmo me at @bencolgan.<br />
Best of luck in all your musical endeavors!