SEMESTER 2 OUTCOME 2 SAC
Tahlia Crees
Exercise
General Exercise
Major 7th Major 9th Arpeggio exercise sung
on See-yah-----------
2 E Blues Scale- E, G, A Bb, B, D, E on an
oo vowel to assist with the tonality of the
chain
3 Minor arpeggio ascending/descending
Performance Challenge
4 1. Singing the melody of the chorus
of “Blow Me Away’, on a
consonant “vvv” and a vowel of
“ooo’, also focusing on dynamics,
crescendo in the middle of the
phrase.
5 Student written:
Source Technique/Repertoire Backing Track?
Judy Niemack’s Hear it and Sing it Combines ear training over No
range extension using an
arpeggiated major 7th and then
a major ninth chord, helps with
strengthening notes that are
other than the major triad
chords.
This exercise is to encourage No
the singer to sing and
understand the intervals of the
Blues scale in relation to the
key of the piece The Chain-
Fleetwood Mac
Anne Peckham The contemporary Breaking Benjamin No
Singer To demonstrate an ability to
sing chordal movement 1,3,5,8
over various vowel sounds
ee,eh,ah oh,
Chorus of blow me away
Singing this on vowel oo,and
consonant v practice where to
place the accent on the last
note and where to place
dynamics.
No
 1. Student created- Melodic motif
taken from the chain listen to the
wind blow singing on oo –oh
6 Student written:
Melodic motif taken from the chain –
listen to the wind blow to be sung on
oo,oh with crescendo – focuses on
supporting the phrase opening up the
vowels on the last word
SEMESTER 2 OUTCOME 2 SAC
Alisha Chand

Exercise Source Technique/Repertoire Backing Track?

General Exercise

1 Bb minor scale one octave in both hands Key of Killing me softly- assists No
with remembering the
accidentals

2 Chord of root position 1st inversion and Understanding building chord No

2nd inversion of Bb minor, C# major and positions inversions in relation
Eb major to the root positions

3 Alteration of rhythm over a block chord Assists with rhythm alteration No

progression, sustained for 4 counts then whilst playing a chord
accenting the third beat by playing the progression.
chord staccato.

Performance Challenge

4 Voicing broken chords from bottom to top Demonstrating understanding

from killing me softly of chordal movement in relation
to the root notes of the
progression.

5 Student written: No

6 Student written:
SEMESTER 2 OUTCOME 2 SAC
Queena Ocampo

Exercise Source Technique/Repertoire Backing Track?

General Exercise

1 Vocalise Grade 5 – High Musical Theatre AMEB Grade 5 Breath control & support, over Yes
an extended range –to be sung
over five vowel sounds.

2 Arpeggiated major sevenths/ major ninth Judy Niemack’s Hear it and sing it Combines ear training over Yes
chord range extension using an
arpeggiated major 7th and then
a major ninth chord

3 Breathing exercise- on a v opening upnon
oh over a melodic phrase
Anne Peckham The Contemporary Flexibility over a chordal No
singer movement maintaining an even
sound of vowel formation &
breath control. Assists with
contracting the diaphragm

Performance Challenge

4 1. Breathing exercise on z- air flow The impossible Dream Singing Yes

maintaining enough air in melody by expelling air on a
ascending and descending consonant “z”
phrases

5 Student written: No

6 Student written:

queenamaeocampo@gmail.com
SEMESTER 2 OUTCOME 2 SAC
Rhina Canlas

Exercise Source Technique/Repertoire Backing Track

General Exercise

1 Sliding Octave leap Exercise – ee-ah-ee Conducted from own repertoire Glissandi transition from lower Yes
on a interval range to head voice –taken
from melodic segment in Under
Pressure

2 Arpeggiated chord sung on scatting Anne Peckham the contemporary Vowel formation, understanding Yes
syllables to be sung staccato singer (added scatting to exercise) chord progression being able to
Boom bap bap, boom bah be, doo dah use scatting over a chord
progression.

3 Descending Arpeggio go go ga ga do so Musical Theatre AMEB Maintain an even transition Yes

mid do from head voice to chest voice

Performance Challenge

4 Scatting exercise on a variation of rhythm Aim to place accents on certain Yes

sung staccato and legato –Boom bap syllables of the scatting used in
bay variation 1 and 2 Under Pressure

5 Student written: No

6 Student written:
Ula Tuitea

Exercise Source Technique/Repertoire Backing Track?

General Exercise

1 Major 7th Major 9th Arpeggio exercise sung on Judy Niemack’s Hear it and Sing it Combines ear training over range Yes
See-yah----------- extension using an arpeggiated
major 7th and then a major ninth
chord

2 Descending Arpeggio- do so mi do but on Verba Vocal Technique Assists with strengthening the Yes
Voo,voo,Voo ga chest voice - Transitioning from
head voice to chest voice
maintaining an even sound.

3 Vocal Onset -An ascending broken chord Derived from own Aim to place accents on melodic Yes
sung staccato firstly sung on vowels ee ah, leap in fever
then with the word “fever”

Performance Challenge

4 Breathing exercise- Derived from own source Using ‘v’ expelling air on melodic Yes
phrase ie. chorus of killing me
softly –works on support and
contracting the diaphragm

5 Student written: Long sustained exercise Long sustained exercise taken No

from the chorus of killing me
softly using the vowel of the first
word for each phrase and
crescendo through the phrase

6 Student written: