Dr. Titze’s Favorite Five vocal warmups for singers

1.	Lip trill, tongue trill, humming, or phonation into narrow tubes (all partial occlusions of vocal tract) on glides, scales, or arpeggios	Gets respiratory muscles into full action rapidly Minimizes upward force on vocal folds because of positive oral pressure Spreads the vocal folds to vibrate their edges only Lowers phonation threshold pressure by providing an inertive acoustic load
2	Two-octave pitch glides, up and down, high vowels /i/ or /u/	Low chest to high pure falsetto mixed voice Gives maximal stretch to vocal folds (first ligament, then muscle) Maximum dichotomy between TA and CT muscles; then unity between them Avoids the difficult passaggi Gets Fo above F1 for varying acoustic loads
3.	Forward tongue roll and extension, vowel sequence /a/-/i/, scales	Creates independence between the phonatory and articulatory structures Loosens tongue and jaw Helps keep vertical larynx position stable during articulation
4.	Messa di voce, proceeding from a partially occluded tract, to high vowels, to low vowels	Engages the layers of vocal fold tissue gradually in vibration, medial to lateral Help singer match tension in muscle to tension in ligament Tests symmetry of crescendo versus decrescendo control under changing respiratory conditions Makes all intrinsic muscles of the larynx work in coordination with changing lung pressure
5.	Staccato on arpeggios	Elicits clean and rapid voice onset, establishing a dominant mode of vibration Trains adductor/abductor muscles simultaneously with tensor muscles during pitch change

Source from: http://www.ncvs.org/ncvs/info/singers/warmup.html