Vocal Lesson Material

BECOMING A VOCAL JAZZ MUSICIAN Student Clinic HandoUt

Practical Tips to Help You On Your Way!

By lisa Kelly-Scott

Vocal Jazz Artist/Clinician

Lisa KellY-Scott – Award winning vocal artist/clinician, small groups to big bands. Clinician, adjudicator, mentor, and member of FMEA/MENC (FVA), JEN, FJE. 2013 Jacksonville Jazz Festival “Hall of Fame” Inductee, Profiled in the book, “The New Face of Jazz,” 5x DownBeat Magazine award winner (vocal/composition), Featured vocalist with Larry Elgart Orchestra, St. Johns River City Band, UNF JE 1.

Email: [email protected]; PH: 904.703.8687 Website: www.KellyScottMusic.com

-Jazz Vocal History At A Glance- This information in no way covers the complete documentation of vocal jazz history, but merely serves as a brief summation for review. There are many important events and personalities too numerous to mention, but certain ones were chosen for their particular contributions towards vocal jazz evolution.

JAZZ (jaz),n. 1. Music originating in New Orleans around the beginning of the 20th century & subsequently developing through various increasingly complex styles, generally marked by intricate, propulsive rhythms, polyphonic ensemble playing, improvisatory, virtuosic solos, melodic freedom, & a harmonic idiom ranging from simple diatonicism through chromaticism to, in recent developments, atonality. 2. A style of dance music, popular esp. in the 1920’s, arranged for a large band & marked by some of the features of true jazz.

JAZZ SINGER . A singer whose vocal technique is similar to that of a musical instrument, & whose singing has a strong jazz feeling, chiefly imparted through phrasing, melodic improvisation, & rhythmic subtlety.

Indeed, the voice is considered the first instrument, contributing throughout the history of jazz music, & greatly influencing its beginnings. Before the 1800’s, West Africans were brought over to the New World to work as slaves on Southern plantations, bringing with them a music based on rhythmically complex vocal & drum styles, with syncopation of individual melodic lines & conflicting rhythms played by different members of an ensemble. The slaves created Work Songs (Field Hollers & later, Rowing Chants on riverboats), from their musical tradition of call-&- response patterns, to sing while working. Black folk music was reflected through Spirituals in the church & The Blues, reflecting the misery of slave life far away from home. The Blues became a musical style, based on the Blues Scale, the call-&-response pattern, the slurred sounding, bent “blue note” of the Blues scale (1/2 way between notes or tones), & a usual 12-bar form. By the 1800’s, the Civil War had been fought & slavery had ended, but the South was still experiencing a backward agricultural economy & violent race relation. Factories & city life were replacing rural farm life for millions, there was a huge influx of immigrants into the U.S., and modern appliances were being created. Jazz music originated in a spirit that embraced this social, political, & personal change, rooted in the merging of the developing forms of Black folk music with long established European music; waltzes, hymns, quadrilles, marches, & Italian Opera-especially the theoretical elements & harmony of European Classical music. In New Orleans, the banjo music of minstrel shows (from slaves), the Black influenced, syncopated Latin American music, the barrelhouse piano styles heard in taverns, & the music of the marching military brass bands (heard at weddings, funerals, social events), all meshed into Ragtime as the musicians began to mix musical ideas & styles in jam sessions. In 1910, bandleader W.C. Handy published the first collection of Blues songs. Thus began the birth of Jazz.

Vocalists have always played a major role in the development of jazz, beginning with the Work Songs. In 1912, Bessie Smith, “Empress of the Blues,” became a featured performer with traveling minstrel shows. She recorded many songs, including “Down Hearted Blues,” and the famous “St. Louis Blues” with the young Louis Armstrong, & made an appearance in the movie by the same name. In New Orleans, Dixieland (New Orleans music played by White musicians) was heard by The Original Dixieland Jazz Band and The New Orleans Rhythm Kings (1922), and by The Creole Jazz Band (1923, Creole was New Orleans music played by Black musicians). Many leading musicians were emerging, including King Oliver’s 2nd trumpeter, Louis Armstrong, who was the first true virtuoso soloist of jazz. He not only created the improvised instrumental solo, but also set the standard for later jazz singers, altering words & melodies, & improvising without words like an instrument (scat singing).

The 1920’s saw great experimentation & discovery in Chicago Style Jazz, with more complex textures & growing sections within larger ensembles. Fats Waller, a vocalist & entertainer, became popular for his Stride piano playing, & by the 1940’s, Boogie-Woogie was a hit. The 1920’s – 1940’s also saw the rise of the Big Band Swing Era, with singers like June Christy, Anita O’Day, Ella Fitzgerald, who continued the Armstrong tradition of scat singing & made many recordings with him, Billie Holiday, who was greatly influenced by Armstrong’s trumpet & vocal style, Peggy Lee, Frank Sinatra, & Bing Crosby singing with The Duke Ellington Orchestra, The Count Basie Band (Kansas City Style), and the bands of Benny Goodman, Gene Krupa, & Chick Webb, and others.

Vocalists were not only pleasing to look at, but served as the connection between audience & band, with lyric & melody, making the music more commercially viable. Their voices were heard in clubs across the country, on recordings, the radio, in movies and on television, & they became the subjects of media coverage & gossip columns. In the 1940’s, a new style evolved known as Bebop, Rebop, or Bop, a hard swinging East Coast Style lead by jazz pioneer, Charlie Parker. Jazz musicians became less entertainment oriented & more focused on their musical growth as artists, with performers like Charlie Christian, Lester Young, Thelonius Monk, Miles Davis, & Dizzy Gillespie traveling the world playing a more harmonically complex music over faster, hard “bopping” tempos.

As jazz became more complicated & less interactive with audiences, the general public began to follow the more danceable feel found in the Rock N’ Roll of the 1950’s. As many of the big bands dissolved, vocalists survived by singing standards, some in a pop fashion (with strings or contemporary arrangements), or by following the evolving jazz styles. Sarah Vaughan was associated early in her career with Bop musicians like Dizzy Gillespie & Charlie Parker, but the most famous singer in the style was Betty “Bebop” Carter, who would later be emulated by many jazz singers. The 1950’s also saw the development of West Coast “Cool Jazz ” with artists like Miles Davis, Stan Getz, Gerry Mulligan, & McCoy Tyner. Through the 1960’s – 1980’s, other styles would continue to evolve, including Avande Garde, Fusion, Modal Jazz (allowing for much more freedom in improvising), Mainstream, & Latin Jazz, with artists like Bill Evans, Miles Davis, John Coltrane, & vocalist, Astrud Gilberto, who popularized Brazilian Bossa Nova’s with Stan Getz and A.C. Jobim.

Over the last ten years, jazz has enjoyed a huge resurgence in popularity. It is performed in clubs, concert halls, & music festivals throughout the world. Numerous record labels have marketed new artists & re-released old recordings, radio & TV programs have aired jazz, countless books & articles have been written on the subject, & elementary to college music programs have taught jazz in the classroom. In the 1980’s, Congress officially proclaimed jazz as America’s Musical Art Form. Jazz has continued to evolve, reflecting the changing elements of our culture. Jazz musicians respectfully maintain the tradition of the past, while incorporating contemporary popular music & new creative musical ideas to lead jazz into the future. From the 1950’s on, the respected list of jazz vocalists have included Betty Carter, Nancy Wilson, Sarah Vaughan, Dinah Washington, Carmen McCrae, Lambert, (Jon) Hendricks & Ross (trio), Eddie Jefferson, Joe Williams, Nat King Cole, Natalie Cole, Cassandra Wilson, Dianne Reeves, Diane Schuur, Nnenna Freelon, Astrud Gilberto, Lena Horne, Johnny Hartman, Carmen Bradford, Patti Austin, Abby Lincoln, Bobby McFerrin, Shirley Horn, Holly Cole, Jimmy Witherspoon, The Manhattan Transfer, The New York Voices, Mel Torme, Tony Bennett, Frank Sinatra, Cleo Laine, Karrin Allyson, Freddie Cole, Mary Lou Williams, Dee Dee Bridgewater, Freddie Cole, Mark Murphy, Kevin Mohogany, Al Jarreau, Kurt Elling, Lisa Kelly, Diana Krall, and other viable jazz vocal artists!

-Standard Jazz Repertoire- These are many of the accepted jazz “standards” in suggested tempos and styles to begin the foundation of your jazz repertoire. This is only a start, for you can never know enough tunes! In learning these tunes (and others), you will develop an understanding of good musical form, of well-written lyric and melody structure. You will also be able to sing tunes known by instrumentalists, enabling you to participate in musical experiences such as auditions, jam sessions and performances. Explore each tune in different keys, tempos and styles (blues, ballad, up-tempo swing, Latin, medium swing, 6/8, 3/4, 5/4, 7/4), develop your musical “ear” for what works and what doesn’t. Don’t forget to figure out your key and rewrite a transposed chart for each tune in your key if the original key doesn’t work for you.

BALLAD/SLOW MEDIUM

A CHILD IS BORN A FINE ROMANCE ANGEL EYES A FOGGY DAY AS TIME GOES BY AFRO BLUE BODY & SOUL AIN’T MISBEHAVIN’ COME RAIN OR COME SHINE ALL OR NOTHING AT ALL DON’T EXPLAIN ALONE TOGETHER GEORGIA AUTUMN LEAVES GOD BLESS THE CHILD DO NOTHING TILL YOU HEAR FROM ME GOOD MORNING HEARTACHE DON’T GET AROUND MUCH ANYMORE HERE’S THAT RAINY DAY DOODLIN’ (IN MY) SOLITUDE I LET A SONG GO OUT OF MY HEART I’VE GROWN ACCUSTOM TO HIS FACE I’LL REMEMBER APRIL LOVERMAN I’M BEGINNING TO SEE THE LIGHT LUSH LIFE IN A MELLOW TONE MISTY IT HAD TO BE YOU MOONLIGHT IN VERMONT I THOUGHT ABOUT YOU MY FOOLISH HEART JUST IN TIME MY FUNNY VALENTINE JUST SQUEEZE ME MY ONE & ONLY LOVE LULLABY OF BIRDLAND MY ROMANCE MEAN TO ME POLKADOTS & MOONBEAMS MOONGLOW ‘ROUND MIDNIGHT MY FAVORITE THINGS SINCE I FELL FOR YOU MY SHIP SOMEONE TO WATCH OVER ME NICE AND EASY STARDUST ON THE SUNNY SIDE OF THE STREET TENDERLY OUR LOVE IS HERE TO STAY THE MIDNIGHT SUN SATIN DOLL TRAVELIN’ LIGHT SHINY STOCKINGS WE’LL BE TOGETHER AGAIN SPEAK LOW WHEN I FALL IN LOVE SOFTLY, AS IN A MORNING SUNRISE YOU DON’T KNOW WHAT LOVE IS STOMPIN’ AT THE SAVOY YOU MUST REMEMBER SPRING STORMY WEATHER TEACH ME TONIGHT THERE IS NO GREATER LOVE THEY CAN’T TAKE THAT AWAY FROM ME UP JUMPED SPRING YOU’D BE SO NICE TO COME HOME TO MEDIUM/UP TO UP LATIN

A NIGHT IN TUNISIA BLACK ORPHEUS ALL OF ME CORCOVADO (QUIET NIGHTS) ALL THE THINGS YOU ARE DESAFINADO BEAUTIFUL LOVE DINDI BYE, BYE BLACKBIRD GENTLE RAIN CHEROKEE IPANEMA EASY TO LOVE GREEN DOLPHIN STREET HONEYSUCKLE ROSE HOW INSENSITIVE HOW HIGH THE MOON NATURE BOY I CRIED FOR YOU NICA’S DREAM I’M OLD FASHIONED OUT OF THIS WORLD IT DON’T MEAN A THING THIS MASQUERADE I WANNA BE HAPPY SONG FOR MY FATHER JUST FRIENDS TRISTE LOVE FOR SALE WHEN SUNNY GETS BLUE MERCY, MERCY, MERCY MY SHINING HOUR THE BLUES NIGHT & DAY ALL BLUES ON A CLEAR DAY BLACK COFFEE RHYTHMING BLUE MONK SECRET LOVE EVERYDAY I HAVE THE BLUES SWEET GEORGIA BROWN FINE & MELLOW TAKE THE “A” TRAIN GEE BABY, AIN’T I GOOD TO YOU? THAT OLD BLACK MAGIC I’VE GOT IT BAD (& THAT AIN’T GOOD) UNTIL I MET YOU (CORNER POCKET) MOANIN’ WELL, YOU NEEDN’T ROUTE 66 YESTERDAYS ST. LOUIS BLUES SUMMERTIME INSTRUMENTALS WELL ALRIGHT, O.K, YOU WIN ANTHROPOLOGY WILLOW WEEP FOR ME APRIL MIST BILLY’S BOUNCE CONFIRMATION DIG DOXY GIANT STEPS JOY SPRING MOOSE THE MOOCH OLEO SANDU SO WHAT TAKE 5 TENOR MADNESS Never stop learning more tunes!!! -WHOM TO LISTEN TO-RECOMMENDED VOCALISTS/INSTRUMENTALISTS- -PIANO- -BASS- -DRUMS- Dave Brubeck Bill Evans John Clayton Buddy Rich Jelly Roll Morton Dave Holland Art Blakey Oscar Peterson Ray Brown Gene Krupa McCoy Tyner Charlie Haden Jo Jones Marian McPartland Charles Mingus Roy Haynes Thelonius Monk Oscar Pettiford Jimmy Cobb Keith Jarrett, Chick Corea Paul Chambers Max Roach Herbie Hancock Stanley Clarke “Philly” Joe Jones Errol Gardner John Petatucci Jack DeJohnette Count Basie Jaco Pastorius, Rodney Whittaker Elvin Jones Ahmad Jamal Scott Lafaro, Rodney Jordan Tony Williams James P. Johnson Niles Orsted Pedeson Kenny Clarke Art Tatum, Lynne Ariale Dennis Marks, Charlie Silva Dennis Chambers, Fats Waller (v) Jay Mueller, Richard Drexler Zutty Singleton, Horace Silver John Lee Butch Miles (C/Basie) Bud Powell, Cyrus Chestnut -VIBES- Eddie Metz, Clyde Connor

Ramsey Lewis Red Norvo -VIOLIN- Joe Zawinul, Benny Green Lionel Hampton Stephane Grappelli Mary Lou Williams Terry Gibbs Jean Luc Ponty Michel Camilo Milt Jackson Stuff Smith Marcus Roberts Regina Carter Harry Connick, Jr. (v) -EUPHONIUM- Ray Charles (v) Eddie Locke -HARMONICA- Nat King Cole (v) Rich Matteson “Toots” Thielmans Shirley Horn (v) Pete Petersen Diana Krall (v) Howard Levy Jeff Phillips, Lynne Ariale -VOCALISTS- Per Danielssen, Stephan Carlson(FEMALE) -GUITAR- Ma Rainey Ethel Waters Pearl Bailey John & Bucky Pizzarelli Billie Holiday (Lady Day) Bessie Smith (Empress of the Blues) Freddie Green Sarah Vaughan (Sassy) Anita O’Day Dinah Washington Barnie Kessel Ella Fitzgerald (Ella) June Christy Chris Conner Kenny Burrell Dakota Staton Maxine Sullivan Carmen McCrae Charlie Christian Peggy Lee Julie London Nancy Wilson Wes Montgomery Betty “Bebop” Carter Abbey Lincoln Shirley Horn Jim Hall Dee Dee Bridgewater Astrud Gilberto Diana Krall Joe Pass Cassandra Wilson Natalie Cole Paula Cole Django Reinhardt Nneena Freelon Carmen Lundy Diane Schuur Emily Remler Carmen Bradford Dianne Reeves Lena Horne John McLaughin (MALE) ------Harry Connick, Jr. Eddie Lang Cab Calloway Jimmy Rushing Billy Eckstine Eddie Condon Johnny Hartman Jon Hendricks Nat King Cole John Schofield Louis Armstrong Frank Sinatra Tony Bennett Pat Matheny Eddie Jefferson Joe Williams Chet Baker Grant Green “Big” Joe Turner Al Jarreau Mark Murphy Pat Marino Little Jimmy Scott Bobby McFerrin Kurt Elling Russell Malone Kevin Mohagony Mel Torme Bing Crosby George Benson (GROUPS) Lamber, Hendricks & Ross Stanley Clark Manhattan Transfer Pied Pipers Modernairs Earl Klugh New York Voices Four Freshman Ink Spots SAX/REEDS- -TRUMPET/FLUGEL- -TROMBONE- John Coltrane “Trane” Louis Armstrong-“Satchmo”(v) Slide Hampton Ed Calle, Stan Getz Freddie Hubbard J.J. Johnson Charlie Parker “Bird” Woody Shaw J.C. Higginbotham Ernie Watts Bobby Shew Jack Teagarden Cannonball Adderly Rex Stewart Bob Brookmeyer Lester Young “Prez” Clifford Brown Herb Bruce Ornette Coleman Miles Davis Dave Steinmeyer Dexter Gordan Dizzy Gillespie “Diz” Carl Fontana Coleman Hawkins Henry “Red” Allen Rosswell Rudo Illinois Jacquet Bix Beiderbecke Curtis Fuller Jim Snyder (clar.) Chet Baker (v) Jimmy Knepper Eddie “Lockjaw” Davis Ruby Braff Frank Rosolino Wayne Shorter Lee Morgan John Fedchock Gerry Mulligan “Cat” Anderson Bill Waltrous Sidney Bechet Clark Terry Al Grey Ben Webster Buddy Boldon Bill, John Allred Sonny Rollins Lester Bowie Steve Davis Louis Jordan Buck Clayton -BIG BAND- Johnny Hodges Donald Byrd Count Basie (piano) Phil Woods Nat Adderly Duke Ellington (piano) Eric Dolphy Blue Mitchell Woody Herman (clarinet) Joe Henderson Roy Eldridge Stan Kenton (piano) Arnette Cobb Harry “Sweets” Edison Fletcher Henderson Sonny Stitt Maynard Ferguson Benny Goodman (clar.) Zoot Sims Chuck Mangione Glenn Miller (trombone) Bud Johnson Tom Harrell Tommy Dorsey (trombone) Art Pepper John Faddis Artie Shaw (clarinet) Pee Wee Russell Art Farmer Chick Webb (drums) Eddie Daniels Bunk Johnson Gene Krupa (drums) Bud Freeman Booker Little Cab Calloway (voice) Michael Brecker Scotty Barnhart Jack Teagarden (trombone) Bransford Marsalis Jonah Jones Eddie Condon (guitar) Jackie McClean Claudio Roditi Buddy Bolden (trumpet) Jimmy Noone Fats Navarro Buddy Rich (drums) Stanley Turrentine Red Nichols George Shearing (piano) Paul Desmond Wynton Marsalis Jimmy Lunceford (sax/reeds) Paquito Derivera Bill Prince (all horns) Harry James (trumpet) Don Byas, Lew Tabackin Arturo Sanduval Earl “Fada” Hines (piano) Benny Carter Thad Jones Thad Jones (trumpet) Buddy DeFranco JB Scott Dave Brubeck (piano) Joe Lovano Nicolas Payton Charlie Barnet (sax) Joshua Redman Bobby Hackett Quincy Jones (piano) Benny Golson Miles Davis/Gil Evans Freddie Keppard -DIXIELAND- Don Menza (sax) Pete Fountain Louis Armstrong (Hot 5/7) Maria Schneider Johnny Griffin Original D/L Band Toshiko Akiyoshi Terry Myers Dukes of D/L Maiden Voyage (all female) Also…………. Creole Jazz Band Vanguard Jazz Orchestra The Heath Brothers (3) King Oliver Lincoln Center Jazz Orch. Billy Strayhorn (w/ Ellington) New Orleans Rhythm Kings Army Jazz Ambassadors

-RESOURCE BOOKS: TUNE SOURCES & PRACTICE MATERIALS-

These books can be found at music stores, bookstores or on the internet. Some books are now beginning to include the opening verses to tunes (the portion that sets up the tune).

JUST JAZZ REAL BOOK “C” EDITION. Pub./Warner Bros. $39.95 15800 NW 48th Avenue, Miami, FL. (33014) ISBN O-7579-0168-9

THE JAZZ VOCALISTS Pub/Amsco Corp. $29.95 1997 Amsco Pub, 257 Park Ave. South, New York, NY. (10010) ISBN 0.8256.1413.9

THE NEW REAL BOOK “C” & Vocal Version. Pub. & Edit/Chuck Sher $38.00 1988 Sher Music Co., P.O. Box 445, Petaluma, CA. (94953) ISBN 0-9614701-4-3

THE NEW REAL BOOK Vol. II- “C” Version. Pub. & Edit/Chuck Sher $38.00 1991 Sher Music Co., P.O. Box 445, Petaluma, CA. (94953) ISBN 0-9614701-7-8

THE REAL BOOK VI EDITION “C” VERSION. Pub/Hal Leon. Corp. $25.00 7777 W. Bluemound Rd; P.O. Box 13819,Milwaulkee, WI. (53213) ISBN 0-634-06038-4

THE REAL LITTLE ULTIMATE FAKE BOOK “C” EDITION. Pub/Hal Leon.Corp $35.00 7777 W. Bluemound Rd; P.O. Box 13819,Milwaulkee, WI. (53213) ISBN 0- www.halleonard.com

THE STANDARDS REAL BOOK “C” version. Pub & Edit/Chuck Sher $40.00 2000 Sher Music Co., P.O. Box 445, Petaluma, CA (94953) ISBN 1-883217-09-1

THE ULTIMATE FAKE BOOK “C” Edition. Pub/Hal.Leonard Corp. $39.95 7777 W. Bluemound Rd; P.O. Box 13819, Milwaulkee, WI (53213) ISBN 0-88188-979-2

JAM EY AEBERSOLD JAZZ www.jazzbooks.com For Catalog. $12.00- $15.00 Book includes lead sheets (Concert key, Bb, Eb, Bass), lyrics, play-along CD. P.O. Box 1244, New Albany, IN. (47151-1244). “Aebersold”s are recorded rhythm section tracks for instrumentalists to practice playing jazz standards and jazz/theoretical concepts. The tunes are in the originally written keys, making some not in suitable for all vocal ranges, but several vocal editions have now been added to the 100+ editions. Excellent CD’s for learning how to sing with a jazz rhythm section, for learning standard jazz tunes, and for practicing improvisational skills.

Reading Books…. JAZZ / THE FIRST 100 YEARS. (book) By Henry Martin/Keith Waters. © 2002 Wadsworth Group. Wadsworth/Thomson Learning, 10 Davis Drive. Belmont, CA. 94002-3098 1-800-423-0563 http://www.wadsworth.com ISBN 0-02-864789-0 To sing jazz, one should study its history and the instrumentalists and vocalists involved in its conception and evolution. Your voice is a solo instrument - think like a horn (trumpet, sax) & sing with ‘swing,’ You must listen to the music, sing horn solos & big band solee lines. Listen & Read! There are numerous book and CD sources to learn about jazz.

KEN BURNS JAZZ/The Story of America’s Music . ( 5 CD collection w/book). $60.00 2000 Sony Music Entertainment.www.pbs.org/jazz , www.legacyrecordings.com, www.vervemusicgroup.com,.C5K 61432

Jazz Workshop With The Pros: Vocal Jazz “Aebersolds” Are For Jazz Vocalists Too! Clinician: Vocalist Lisa Kelly, FMEA Conference 2011

Whether your students are school age or adult, beginners or professional singers, teaching them the skills of singing jazz can be straight forward and fun! Long recognized by instrumentalists as excellent tools for learning how to improve their jazz playing skills, pro jazz artists/clinicians/educators, vocalist Lisa Kelly will demonstrate how to use Aebersolds and other music CD book series to teach jazz to vocalists of all ages and levels of experience. Clinic includes a handout of resource materials (available on the FMEA website) and demonstration of how to sing with a horn player. Come ready to sing!

A. Jamey Aebersold Jazz/Jazzbooks.com: (1) Vol. 42: "Blues In All Keys" (2) Vol. 107: "Singers! It Had To Be You" (3) Vol. 113: "Vocal Standards, Embraceable You" (4) Vol. 117: "For Singers, Cole Porter" (5) "Blues Scatitudes, Vocal Improvisations on the Blues," by Bob Stoloff, Gerald & Sarzin Pub.Co

B. Hal Leonard: (1) "21 Bebop Exercises, For Vocalists & Instrumentalists," HL00315341. (2) "Jazz Standards For Women Singers," HL00740181. (3) "Jazz Ballads For Singers, Women's Edition," HL00740258. (4) "Jazz Ballads For Singers, Men's Edition," HL00740259. (5) "Jazz Standards For Female Singers, Pro vocal Series," HL00740249.

C. Belwin Jazz, Alfred Publishing: (1) "Singin' With The Big Band, Vol.1" 33393 Book & CD. Out of this book: (1) "Everything" (w & m/Michael Buble, Alan Chang & Amy Foster), arr: W.Scott Ragsdale, Pub: Warner-Tamerlane Corp. (medium pop) Grade 2-3. (2) "How About You" (m/Burton Lane & w/Ralph Freed), arr: Dave Wolpe Pub: EMI Feist Catalog, Inc. & Alfred. (medium swing) Grade 3-4. (3) "Something's Gotta Give" (w & m/Johnny Mercer), arr: Dave Wolpe, Pub: WB Music Corp. (medium/up-swing) Grade 3-4.

D. Warner Bros/IMP International Pub: (1) "In Session with The Jazz Masters, Ella Fitzgerald." Available on Amazon.com: http://www.amazon.co.uk/Session-Jazz-Masters-Fitzgerald-Music- Backing/dp/1859098800

-CONSIDERATIONS AS A JAZZ VOCALIST-

QUALITIES OF A JAZZ VOCALIST:

1. A unique vocal “signature” sound with complete command of vocal instrument.

2. Singing accepted jazz standards and/or any song within the jazz style.

3. Ability to interact within a jazz instrumental forum (accompanying yourself, duo to

combo, big band).

4. Vocalizing contains essential elements of jazz style music. Performer understands

when to use them within a musical conversation, with musical tastefulness.

a. Spontaneous improvisation within the melody.

b. Spontaneous improvisation with instrumental-like approach (in delivery of the melody/lyric, in scatting).

c. Memorized ‘quotes’ or licks (melodies) of famous lyric or horn solo lines.

d. The Blues, Swing Feel, notes from jazz chord voicings and scale modes. e. A basic understanding of music & piano fundamentals (theory) to communicate with the musical “language” (keys, measures, chords, etc), to play basic chords and melody on piano, write out lead sheet in your key.

- VOCALESE -

EDDIE JEFFERSON:

Pioneered vocalese, which is putting lyric to an instrumental solo (usually a famous solo by an established instrumentalist) then singing it as a jazz song. Jon Hendricks, Mark Murphy, Cassandra Wilson, Kurt Elling, and other notable jazz vocalists have put lyric to instrumental solos & have sung them. But Eddie Jefferson pioneered the process by using the difficult bebop solos of Charlie Parker, Miles Davis, James Moody, Coleman Hawkins, Dexter Gordon, and other highly regarded bebop artists, note for note, then singing them exactly as the original solo, but with lyric.

-JAZZ VOCAL CHECKLIST-

Based on the criteria for my high school, collegiate & private student’s juries.

A. Correct Singing Technique: Excellence in tone placement/facial mask, air support, tone quality, pitch, expanding range.

B. Performance of Scales: Singing ascending/descending.

1. Major (W-W-H-W-W-W-H) C-D-E-F-G-A-B-C 2. Natural minor (W-H-W-W-H-W-W) C-D-Eb-F-G-Ab-Bb-C 3. Harmonic minor (W-H-W-W-H-1&H-H) C-D-Eb-F-G-Ab-B-C 4. Melodic minor (W-H-W-W-H-W-W) C-D-Eb-F-G-A-B-C (Jazz and Classical).

5. Blues (1&H-W-H-H-1&H-W) C-Eb-F-Gb-G-Bb-C 6. Whole Tone (All Whole Steps) C-D-E-F#-G#-A#-C 7. Chromatic (All Half Steps) C-C#-D-D#-E-F-F#-G-G#-A-A#-B-C 8. Diminshed “Octatonic”(W-H-W-H-W-H-W-H) C-D-Eb-F-Gb-Ab-A-B-C 9. Pentatonic (W-W-1&1/2-W-1&1/2) C-D-E-G-A-C C. Continued expansion of Repertoire:

1. Master song list with personal keys. 2. 2” Binder, Song Lyrics in Alphabetical order. 3. 2-2” Binders (Piano/Guitar, Bass), Lead Sheets in your keys, (in alphabetical order ).

D. Performance of 2 selected tunes in different styles and tempos:

a.______(comp)______

b.______(comp)______

E. Sight Reading

-A VOCAL JAZZ MUSICIAN- Just as the instrumentalists learn the language (theory) of music to become proficient jazz musicians, so should we. Your voice is your instrument; you must be able to have a musical conversation with your audience and with the other musicians on the bandstand. Learning the fundamentals of how music works enables you to relate and earns you tremendous respect and credibility from your musical peers.

SCALES: (Interval Patterns, Solfege)

1. Major (W-W-1/2-W-W-W-1/2) C-D-E-F-G-A-B-C “Do-Re-Mi-Fa-So-La-Ti-Do-Ti-La-So-Fa-Mi-Re-Do”

2. Natural minor (W-1/2-W-W-1/2-W-W) C-D-Eb-F-G-Ab-Bb-C (b3, b6, b7) “La-Ti-Do-Re-Mi-Fa-So-La-So-Fa-Mi-Re-Do-Ti-La”

3. Harmonic minor (W-1/2-W-W-1/2-1&1/2-1/2) C-D-Eb-F-G-Ab-B-C (b3, b6) “La-Ti-Do-Re-Mi-Fa-Si-La-Le-Fa-Mi-Re-Do-Ti-La” (Egyptian Sounding)

4. Melodic minor (W-1/2-W-W-W-W-1/2) C-D-Eb-F-G-A-B-C (b3) a. Jazz: (major scale with a b3/same up and down) “La-Ti-Do-Re-Mi-Fi-Si-La-Le-Se-Mi-Re-Do-Ti-La” b. Classical: (melodic up/natural minor down) “La-Ti-Do-Re-Mi-Fi-Si-La-So-Fa-Mi-Re-Do-Ti-La” (W-1/2-W-W-W-W-1/2, W-W-1/2-W-W-1/2-W) C-D-Eb-F-G-A-B-C-Bb-Ab-G-F-Eb-D-C

5. Blues (1&1/2-W-1/2-1/2-1&1/2-W) C-Eb-F-Gb-G-Bb-C “Do-Ri-Fa-Fi-So-Li-Do-Te-So-Se-Fa-Me-Do”

6. Whole Tone (All Whole Steps) C-D-E-F#-G#-A#-C “Do-Re-Mi-Fi-Si-Li-Do-Te-Le-Se-Mi-Re-Do”

7. Chromatic (All Half Steps) C-C#-D-D#-E-F-F#-G-G#-A-A#-B-C “Do-Di-Re-Ri-Mi-Fa-Fi-So-Si-La-Li-Ti-Do-Ti-Te-La-Le-So-Se-Fa-Mi-Me-Re-Ra-Do”- (12 half steps/think in 1/8th notes)

8. Diminished (W-H-W-H-W-H-W-H) C-D-Eb-F-Gb-Ab-A-B-C “Do-Re-Ri-Fa-Fi-Si-La-Ti-Do-Ti-La-Le-Se-Fa-Me-Re-Do”

9. Pentatonic (W-W-1&1/2-W-1&1/2) C-D-E-G-A-C “Do-Re-Mi-So-La-Do-La-So-Mi-Re-Do”

TRANSPOSITION CHART (Lisa Kelly-Scott 1-29-2-12) -SCALE DEGREES- Major KEY 1 2 3 4 5 6 7 8

C C D E F G A B C C# C# D# E# F# G# A# B# C# Db Db Eb F Gb Ab Bb C Db D D E F# G A B C# D Eb Eb F G Ab Bb C D Eb E E F# G# A B C# D# E F F G A Bb C D E F F# F# G# A# B C# D# E# F# Gb Gb Ab Bb Cb Db Eb F Gb G G A B C D E F# G Ab Ab Bb C Db Eb F G Ab A A B C# D E F# G# A Bb Bb C D Eb F G A Bb B B C# D# E F# G# A# B Cb Cb Db Eb Fb Gb Ab Bb Cb KEYS: 7=#, 7=b & C major (3 enharmonic = B/Cb, F#/Gb, C#/Db)

(#) 1 2 3 4 5 6 7 Key ……………….. G D A E B F# C# #’s On staff …… F# C# G# D# A# E# B#

(left to right) >>>

(b) 1 2 3 4 5 6 7 Key ………………. F Bb Eb Ab Db Gb Cb b’s On staff ….. Bb Eb Ab Db Gb Cb Fb (left to right) >>> In addition to Scales (ascending/descending), you should be able to hear & musically vocalize Intervals, Triads, & 7 Chords with confidence.

I. INTERVALS: Major/minor: (2,3,6,7) Perfect: (1, 4, 5, 8) Augmented (4, 5) Play interval on the piano, then fill in a melody you know to remind you of the specific interval.

INTERVAL/SONG ACSENDING: DESCENDING: m2 Jaws theme song ------M2 “Happy Birthday” “Happy Birth-day”

------m3 “To Dream the Impossible Dream” “What is This Thing Called Love” ------M3 “Mi-chael row the boat ashore” “Three Blind Mice” ------P4 “Here Comes the Bride” “Soft-ly, As In A Morning Sunrise” ------A4 “Ma-ri-a” (Tritone) ------P5 ‘Star Wars” theme song “Feel-ings” ------A5 ------m6 Theme from “Love Story” ------M6 “N-B-C” (1-6) “No More Blues” ------m7 “There’s A Place For Us” ------M7 “Ba-li High” ------P8 “I’m Sing-ing in the rain” (or Octave) “Willow Weep For Me” ------

II. TRIAD CHORDS: Intervals of 3rd’s creating triad (3 note) chords. m M M m M m M m Major minor Augmented diminished (Chord Qualities) (m =minor, M=Major, A=Augmented, d=diminished)

III. TRANSPOSING: Changing melody/chords to a different key (be aware of added accidentals #, b, ). Female vocal keys usually a 4th/5th away from male/.instrumental.

Scale Degree 1 2 3 4 5 6 7 8 Old Key…... F Major F G A Bb C D E F New Key …. Bb Major Bb C D Eb F G A Bb

(see “Transposition Chart”)

-SOLFEGE-

di ri fi si li # do re mi fa so la ti do ra me se le te b

Memorizing Key Signatures:

Technically, there are a total of 15 key signatures 7 sharp (#), 7 flat (b) and C major, which has no sharps or flats. But because 3 of the sharp and 3 of the correlating flat key signatures (B/Cb, F#/Gb, C#/Db) are enharmonic (2 different names for the same pitch or same scale), it is said that there are 12 unique key signatures. This can be observed on the Circle of 5ths Wheel.

OPTIONS:

A. To find the sharp (#) key signatures, start with C major & +5, until you reach C# major (C+5=G, G+5=D, D+5=A, A+5=E, E+5=B, B+5=F#, F#+5=C#). Results = 7 sharp key/sigs = G, D, A, E, B, F#, C#.

B. To find the flat (b) key signatures, start with C major & -5, to reach Cb major. (C-5=F, F-5=Bb, Bb-5=Eb, Eb-5=Ab, Ab-5=Db, Db-5=Gb, Gb-5=Cb). Results = 7 flat key/sigs = F, Bb, Eb, Ab, Db, Gb, Cb.

7 sharp key/sigs, 7 flat key/sigs, & C major (w/NO b’s or #’s) = 15 key/sigs. C. Key Signature Charts:

(#) (b) 1 2 3 4 5 6 7 1 2 3 4 5 6 7 (K/S) G D A E B F# C# F Bb Eb Ab Db Gb Cb (#, b) F# C# G# D# A# E# B# Bb Eb Ab Db Gb Cb Fb

Always read from left to right (G is the 1st # key/sig, so it has 1 # =F#, D is the 2nd # key/sig, so it has 2 #’s = F#, C#, etc).

C# major’s key/sig = F#, C#, G#, D#, A#, E#, B# Cb major’s key/sig = Bb, Eb, Ab, Db, Gb, Cb, Fb

NOTE: Music is filled with logical, mathematical patterns! -The Art of Scatting-How Do I Learn?-

1. Create a listening library of vocal and of instrumental artists to learn the language (style) and phrasing. Pay attention to melodies, rhythms, harmony (chords/modes), dynamics, syncopation, swing feel. 2. Attend rehearsals, big band and small group. 3. Attend live performances. 4. Take private lessons, mentor with a jazz vocalist. 5. Record big band horn sections, horn solos, especially brass (trumpet, trombone). 6. Record piano, bass, guitar and drum solo lines. 7. Record horn players, pianists and drummers verbally scatting lines, listen to melody, rhythm, syllables. 8. Trade licks with horn players and drummers (have them play lines, scat lines) & record their ideas - you’re emulating them.

Good Scat Syllables Short, straight toned syllables (no vibrato), “up front” using tongue/teeth/lips, ‘thinking like a horn.’ Use syllables that express the rhythmic ideas (long, short, fall offs), think in phrases. Doo-yah-doo-bah, doo-bah-doo-dot Bah-doo-bop-bah, bah-doot, doo’n-doo-bow Doo-ya-doo-ya-doo’n, do-ya-doo-dow Babada-doo-dow, badaba-doo-dow, bop-bop Boo-bah-doo-bop-bah, doo-bah-doo-bop Bah-doyah-doo-dat, babah-doo-bop Bop-bah, bop-bah, doo-bop-bah-doo-yit, bop-bah Sha-vu-doo-bop-bah, sha-vah-doo-bop Doo’n-doo-bah, ba-doo-va-doo-bop-bop-bow Doo-dle-ah-doo-vah, doo-badoo-dat Bah-buh-doo-vah, doo-bah-doo-dot, bop-bow Bah-doo’n-doo-vah, doo-bah-doo’n-doo-vah-doo-bop Sweee, doo-yah-doo-yah-doo-dot Bah-doodle-a-doo-bop, doo-bah-dooya-doo’n-doo-bop Bah-doo-bop-bah, doo-bah-doo’n-doo-doo-bop Doo-bah-dooyah-doo’n-doo’nt, doo-vah-doo-dat Bop-bahhhhh, ba-doo-dat, bah-bop-ba-doo-yah, doova-doo-dat Bah-do-dit-dow-doo-dit, ba-doo-vah-doo-dot

How Do I Become A JAZZ Vocal Artist?

As you continue to nurture your musical skills and experiences, you may eventually reach a point where you ask yourself, “How do I evolve to the level of a true musical artist?” Through reading and researching the subject, through personal experiences, and through observations of, and discussions with, artists that seemed focused and centered, that had that special aura about them, I have come to the following conclusions that I hope will prove useful to you.

Know why you are a musician. Is it for fame? Is it to make a lot of money? Is it to find your identity, your worth? Is it because you truly love to express and communicate yourself through the medium of music and you feel this is where your true talent, real passion lies?

Become a spiritually centered person. Get to know the depths of yourself, your talents, your body, mind and soul. If you have a belief in yourself, and in what you are sharing through your music, then your audience will believe in you and your message, you will have an impact on them.

Continue to grow, ‘feeding’ yourself. Study, practice, read, and hone your skills. Be responsible for your level of musical proficiency; of musical contribution and interaction on the stage with other musicians, and ability to communicate with the audience. Make honest assessments of your musicianship and continue to work on your skills. Be patient, enjoying the journey as you continue to evolve. You are a work in progress, always growing, always accomplishing new levels of understanding and creativity. Experiencing life gives you more to share through your music!

The time between gigs is not ‘down time’, but ‘prep time’. Time to learn more material, read books, listen to music, exercise, write music, observe live performances, book engagements, and add to your skills and your knowledge.

In singing Jazz, you are helping to carry on the tradition of an oral art form, making it relevant to the present, and nurturing its path into the future. As an artist, an interpreter of song, you are conveying the meaning of a song based on your depth of understanding and perhaps your life experiences, often making a connection with your audience based on mutual experiences. The older you get, the more you have to say!