THE EVOLUTION OF ELLA FITZGERALD’S SYLLABIC CHOICES IN SCAT SINGING: A CRITICAL ANALYSIS OF HER DECCA RECORDINGS, 1943-52 Justin G. Binek, B.A., B.S., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2017 APPROVED: Jennifer Barnes, Major Professor Richard Sparks, Committee Member John Murphy, Committee Member and Chair of the Division of Jazz Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Vice Provost of the Toulouse Graduate School Binek, Justin G. The Evolution of Ella Fitzgerald’s Syllabic Choices in Scat Singing: A Critical Analysis of Her Decca Recordings, 1943-1952. Doctor of Musical Arts (Performance), May 2017, 136 pp., 17 tables, 9 figures, 25 musical examples, discography, bibliography, 23 titles. This study examines the evolution of Ella Fitzgerald’s scat syllable vocabulary during a key developmental period in her career when she was recording for Decca Records. Between 1943 and 1952, Fitzgerald established the syllabic vocabulary that would serve as a defining characteristic of her improvisational style for the rest of her career. Fitzgerald is commonly praised as the greatest vocal improviser in jazz history, but while much has been written about Fitzgerald’s melodic and harmonic approach to jazz improvisation, little has been written about her syllabic approach. Timbre and articulation are considered to be vital elements of any jazz musician’s style; the study examines the changes in Ella Fitzgerald’s syllabic approach through transcription and analyses of thirteen scat solos recorded during this time period, using scat syllable choices to discuss timbre and articulation. This analysis provides a model for further research of its kind, as well as informing historically accurate performance practice by both teachers and students of jazz singing. Copyright 2017 by Justin G. Binek ii ACKNOWLEDGEMENTS Diana Spradling provided me with a remarkable opportunity in 2006 when she asked if I would write the section on improvisation for her groundbreaking 2008 book Jazz Singing: Developing Artistry and Authenticity. That project served as my first opportunity to pursue this kind of analytical research in jazz singing, an opportunity for which I remain immeasurably grateful. This dissertation is dedicated to her in appreciation for seventeen years of instruction, constructive criticism, mentorship, and friendship. Additionally, I need to acknowledge Fran Morris Rosman at the Ella Fitzgerald Charitable Foundation for her enthusiastic support of this research. I would like to thank the members of my DMA committee: Jennifer Barnes, Dr. Richard Sparks, and Dr. John Murphy. The three of you are remarkable people and educators, and I am grateful for your generosity, your wisdom, and your friendship. Special acknowledgement also needs to be given to Rosana Eckert for her service as a committee member on my three previous recitals, her infectious enthusiasm for teaching, and her extensive knowledge of vocal pedagogy for non-classical singers. I am grateful for the other faculty with whom I have had the pleasure of studying during my time at the University of North Texas, as well as my fellow doctoral students in jazz studies and the vocal jazz and choral conducting teaching fellows whom I am privileged to call my colleagues and friends. My parents, William and Georgia Binek, instilled a love of learning in me at an early age, and have continued to exuberantly support my musical passions throughout every stage of my career. Last, but certainly not least, I need to thank Claire Binek for agreeing to uproot our lives and move halfway across the country so I could pursue this degree. Her patience, love, support, and commitment to “us” know no boundaries. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS .................................................................................................................................... iii LIST OF TABLES..................................................................................................................................................... v LIST OF FIGURES .................................................................................................................................................. vi LIST OF TRANSCRIPTION EXAMPLES ........................................................................................................ vii CHAPTER 1. INTRODUCTION ........................................................................................................................... 1 Lack of Research into Scat Syllable Vocabulary .......................................................................... 3 Methodology and Importance of this Topic in Vocal Jazz Education ................................. 7 CHAPTER 2. OBSERVING THE EVOLUTION OF ELLA FITZGERALD’S SCAT SYLLABLE VOCABULARY THROUGH ANALYSIS OF RECORDED BACKGROUND FILLS ............................... 11 CHAPTER 3. “HOW HIGH THE MOON,” “OH, LADY BE GOOD,” AND THE SHIFT IN FITZGERALD’S SOLO APPROACH ................................................................................................................ 25 CHAPTER 4. “SMOOTH SAILING,” “AIRMAIL SPECIAL,” ROUGH RIDIN’,” AND “PREVIEW”: THE “VOCALIZED INSTRUMENTALS” AND THE REFINEMENT OF ELLA FITZGERALD’S IMPROVSATIONAL STYLE .............................................................................................................................. 36 CHAPTER 5. CONCLUSIONS DRAWN FROM TRANSCRIPTION AND ANALYSIS OF ELLA FITZGERALD’S RECORDED SCAT SOLOS BETWEEN 1943 AND 1952 .......................................... 52 CHAPTER 6. CONCLUSION: OPPORTUNITIES FOR FUTURE RESEARCH ..................................... 63 APPENDIX A. TRANSCRIPTIONS .................................................................................................................. 66 APPENDIX B. SYLLABIC ANALYSIS ........................................................................................................... 100 BIBLIOGRAPHY ................................................................................................................................................. 134 DISCOGRAPHY ................................................................................................................................................... 136 iv LIST OF TABLES Page Table 1. Syllabic Tallies and Syllable Groups in “Cow Cow Boogie” ............................................... 13 Table 2. Ella Fitzgerald Scat Syllable Choices in Background Fills, 1943-1945 ......................... 14 Table 3. Pre-1946 Syllable Groups .............................................................................................................. 15 Table 4. Syllabic Tallies and Syllable Groups in “Dream A Little Dream of Me” ........................ 17 Table 5. Syllabic Tallies and Syllable Groups in “Mr. Paganini” ....................................................... 20 Table 6. Ella Fitzgerald Scat Syllable Choices in Background Fills, 1949-1952 ......................... 22 Table 7. Comparison of Pre-War and Post-War Onset Syllables. .................................................... 24 Table 8. Syllable Groups and Onset Consonants in “Flying Home” ................................................. 27 Table 9. Syllabic Tallies and Syllable Groups in “How High the Moon” ........................................ 31 Table 10. Ella Fitzgerald Scat Syllable Choices in 1947 Recordings .............................................. 33 Table 11. Double-Time Syllabic Tallies and Syllable Groups in “Smooth Sailing” .................... 39 Table 12. Comparative Analysis of Syllabic Material in “Smooth Sailing” ................................... 41 Table 13. Syllabic Tallies and Syllable Groups in “Airmail Special” ............................................... 45 Table 14. Syllable Groups in “Rough Ridin’.” ........................................................................................... 48 Table 15. Syllable Groups in “Preview.” .................................................................................................... 51 Table 16. Double-Time/Bebop Syllabic Vocabulary Post-1947. ..................................................... 55 Table 17. Ella Fitzgerald Scat Syllable Choices in “Common Practice” Syllabic Set ................. 58 v LIST OF FIGURES Page Figure 1. Background scat fills, 1943-1955. ............................................................................................ 23 Figure 2. Background scat fills, 1949-1952. ............................................................................................ 23 Figure 3. Comparison of syllable groups in scat fills. ........................................................................... 24 Figure 4. Scat syllable choices following Gillespie tour. ..................................................................... 33 Figure 5. The shift in Ella Fitzgerald’s syllabic vocabulary between 1945 and 1947. ............ 54 Figure 6. Ella Fitzgerald’s bebop vocabulary, 1947-1952 .................................................................. 57 Figure 7. “Common practice” Ella Fitzgerald syllabic vocabulary. ................................................. 59 Figure 8. Syllabic groups by name and frequency. ................................................................................ 60 Figure 9. Syllabic onsets by name and frequency. ................................................................................