This paper is intended to sound an alarm to those chorus vocal exercises, which are liable to get chronically patterned. To this end, Walther Schneider's methodology is taken up for reference to consider how effective a practice in vocalization would be. Vocal exercises for a chorus as taken up herein, therefore, have been divided into two: one is a basic part of the phonation theory and the other is a specific practice in vocalization ranging from breathing and phonation to resonance.
Effects of vocal exercises on voice and performance vary with how to handle them. The instructor must make effective use of that fact after fully understanding it. From a musical point of view, moreover, he or she needs to have a "good ear" and a sharp sense sufficient to properly grasp the status quo of the chorus group's phonation and musical expression. A vocal exercise is two-faced in the sense that it has a fear of being liable to fall into a collapse of voice and a point of achieving effectiveness. This is the very reason why an understanding of these would allow a vocal exercise to be more effective.