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Pour Une Nouvelle Définition Du Terme Vocalese Eric Fardet Pour une nouvelle définition du terme vocalese Eric Fardet To cite this version: Eric Fardet. Pour une nouvelle définition du terme vocalese. Acta Musicologica, Basel : International Musicological Society, 2015, 87 (1), pp.75-98. hal-01706331 HAL Id: hal-01706331 https://hal.archives-ouvertes.fr/hal-01706331 Submitted on 11 Feb 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sommaire POUR UNE NOUVELLE DÉFINITION DU TERME VOCALESE .................................................................................... 3 I. LE CONTEXTE MUSICAL ............................................................................................................................... 3 A. UNE CULTURE FRANÇAISE REPOSANT SUR LA MUSIQUE SAVANTE, LE MUSIC‐HALL ET LE TRAVAIL EN STUDIO 4 B. DES LIENS ENTRE CHANTEURS AMÉRICAINS ET FRANÇAIS 5 C. LA MODERNISATION DU FRANÇAIS 6 II. REDÉFINIR LE TERME « VOCALESE » ............................................................................................................ 7 A. L’HISTOIRE DU TERME « VOCALESE » : DU CONTRE‐EMPLOI À LA POSTÉRITÉ 7 B. VOCALESE ET ENSEMBLES VOCAUX 8 C. QUELS SUPPORTS LINGUISTIQUES POUR LE VOCALESE ? 10 D. LE TERME VOCALESE : DU QUALIFICATIF AU SUBSTANTIF 14 III. DEUX ÉCRITURES DE STYLE VOCALESE POUR ENSEMBLE VOCAL : DOUBLE SIX ET LAMBERT‐HENDRICKS & ROSS 16 A. LES ÉCRITURES FRANÇAISE ET ANGLAISE DE STYLE VOCALESE 16 1. Techniques de prise de son...................................................................................................................... 17 2. Vocabulaire ............................................................................................................................................. 19 3. Deux esthétiques du vocalese ................................................................................................................. 21 B. ETUDE DU VOCALESE FRANÇAIS DE MIMI PERRIN 22 Résumé Jazz vocal et jazz instrumental se sont constamment influencés durant leur évolution, comme en témoigne le développement des techniques particulières d’écriture et d’improvisation que sont le vocalese et le scat. A partir du contexte français dans lequel se développe l'école parisienne de vocalese, l'étude montre que le terme vocalese ne désigne plus seulement l’adjonction d’un texte à un solo de jazz mais doit également être retenu pour qualifier toute transcription vocale de jazz. La troisième partie, consacrée à l'analyse des premières applications de cette technique aux polyphonies vocales, compare les styles vocalese de Jon Hendricks pour le groupe Lambert-Hendricks & Ross et de Mimi Perrin pour les Double Six. L'auteur développe les contraintes rencontrées par les deux créateurs et décrit leurs choix esthétiques. Deux visions apparaissent : Jon Hendricks, comme poète, privilégie des textes engagés qui peuvent l’éloigner de l’enregistrement support ; Mimi Perrin, dans un travail proche de la traduction, vise l’adéquation systématique aux sonorités, aux tempi et aux phrasés instrumentaux originaux. Éric FARDET, docteur en musicologie, premier prix du conservatoire de Tours en guitare, chef de chœur et enseignant, a effectué des recherches universitaires sur la voix et les onomatopées dans la musique contemporaine. Il a soutenu son doctorat sur « le jazz et les groupes vocaux » à l’université de Strasbourg. 2 Abstract Vocal jazz and instrumental jazz have constantly influenced each other during their evolution. We can note that in the way how vocalese and scat, particular writing and improvisation techniques, developed. From the French context in which develops the vocalese Parisian school, this study shows that the term vocalese does not designate any more the only addition of a text on jazz music but must be also retained to qualify all vocal jazz transcription. The last part is dedicated to the analysis of the two first applications of this technique to vocal polyphonies. It compares Jon Hendricks’s vocalese style (Lambert-Hendricks & Ross), and Mimi Perrin’s style (leader of the Double Six). The author develops the constraints met by both creators and explains their esthetic choices. Two visions appear: Jon Hendricks, as a poet, often favors committed texts that can take him away from the recording medium; Mimi Perrin, in a work close to translation, aims at systematic adequacy to tones, tempi and original instrumental phrasings. Éric FARDET, doctor in musicology, first guitar prize of Tours academy, choir conductor and teacher, made university researches about voice and onomatopoeias in contemporary music. He supported his doctorate about “jazz and vocal groups" at the University of Strasbourg. 3 Pour une nouvelle définition du terme vocalese I. Le contexte musical Les groupes vocaux de jazz occupent une position périphérique non seulement dans le jazz mais aussi au sein même du jazz vocal et les ensembles qui centrent leur pratique sur la transcription demeurent marginaux : Lambert-Hendricks&Ross (L.H.R. - 1958-1962)1 et les Double Six (transcriptions avec texte sur du jazz) Swingle Singers (transcriptions avec onomatopées sur du baroque), Quire (transcriptions avec onomatopées sur du jazz), Manhattan Transfer (arrangements ou transcriptions, avec texte ou onomatopées, sur du jazz), L.A. Voices (réductions/augmentations avec texte sur du jazz), Vox office (réductions avec paroles sur du jazz), … Dans la seconde moitié du XXe siècle et durant quinze années, l’école française de vocalese qui comprend les Double Six, les Swingle Singers et l’ensemble Quire, décline pour un groupe assez homogène de chanteurs, trois pistes distinctes du vocalese : la transcription de musique de jazz avec paroles (Double Six : six chanteurs, morceaux pour six ou douze parties vocales), la transcription avec onomatopées de musique non jazz vers le jazz (Swingle Singers : huit chanteurs, quatre parties vocales), la transcription avec onomatopées de musique de jazz pour piano (Quire : quatre chanteurs, de quatre à huit parties vocales). L.H.R. et les Double Six, premiers ensembles de « vocalese-group », ont en commun l’interprétation de morceaux issus des grands ensembles instrumentaux et du répertoire bop, avec apport d’un texte discursif. Le groupe L.H.R. est composé de chanteurs boppers dont deux sont des paroliers (Jon Hendricks et Annie Ross qui écrit les paroles de Twisted). Aux États-Unis, leur travail pour ensemble vocal n’aura pas de suite avant les années 1980 : 1979 et 1985 : deux albums des Manhattan Transfer sont consacrés au vocalese (Extension et Vocalese ; le second verra la participation de Bobby McFerrin et de Jon Hendricks), 1982 : l’album Jon Hendricks & Company (avec Michele Hendricks), 1983 : premier des trois disques des L.A. Voices associant dans une même écriture cinq saxophones et cinq voix. 1. Le groupe L.H.R. devient en 1963-1964 L.H.B., Annie Ross étant remplacée par Yolande Bavan puis Anne-Marie Moss ; ultérieurement la succession de Dave Lambert ne s’effectua que pour quelques concerts avant la dissolution du groupe. 4 Les deux groupes de vocalese L.H.R. et Double Six élaborent les premières applications de « l’écriture vocalese » pour « chœur ». Ils expérimentent, en studio puis sur scène, les différentes formes de transcriptions dont la réduction, à partir d’un enregistrement ou d’une partition existante, en utilisant l’overdubbing. Cette technique sera usitée par les deux ensembles dans leur premier album en déclinant l’idée d’une reproduction à l’identique des douze parties d’un big band ainsi que de ses improvisations. Par la suite, la nécessité d’une prestation scénique les obligera à une réécriture de leur programme pour seulement trois ou six voix. Chaque groupe s’appuiera sur le travail antérieur d’un ensemble précurseur : les Blue Stars pour les Double Six et les Dave Lambert Singers pour L.H.R. A. Une culture française reposant sur la musique savante, le music-hall et le travail en studio En France, la tendance à valoriser un jazz écrit se retrouve durant ces mêmes années à la fois dans les transcriptions de Jacques Loussier et dans les écritures d’André Hodeir. Souvent issus du monde académique de l’enseignement spécialisé des conservatoires2, ces musiciens partagent une « culture classique » avec le fondateur des Swingle Singers, Ward Swingle, lauréat en 1951 d’un master au conservatoire de Cincinnati. Leurs crossover musicaux influencés par d’autres styles (variété, music hall…) s’adossent largement à la musique savante. Les répertoires du music-hall et de la chanson de variété font partie de la pratique de ces musiciens de studio, comme les chansons de Broadway nourrissent les musiciens de jazz américains. Certains musiciens des Double Six, tel Claude Germain, ont aussi leur emploi dans les cabarets, au Moulin Rouge ou au Lido. Comme choristes, ils perçoivent des cachets en se retrouvant pour des « backgrounds3 » dans les studios parisiens. La place importante du music-hall se perçoit dans une interview de Mimi Perrin, interrogée l’issue d’un concert des Double Six à l’Olympia, en première partie de Georges Brassens. Jean
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