vocal jazz clinic

VOCAL JAZZ CLINIC
~ NAfME In Service Conference ~
Nashville, TN
Presented by
John H. Nethaway
October 27, 2004 – 1 PM
A programmed, step by step vocal
jazz method designed for use
by children through adults
John H Nethaway
8403 Elmer Hill Road
Rome, NY 13440
518-339-6714
[email protected]
Part I – Vocal Jazz Style
A. Introduction – Jazz is part of our musical heritage and one of my
missions in music education is to promote it so that it
lives and provides a means of human expression.
George Gershwin - “Some people have the ability to put their feelings into words or music. There
are thousands who have the same feeling and who are mute. Those of us who scan must speak for
those who cannot – but we must be honest about it.” Duke Ellington – “To know and perform jazz is
to know yourself.”
Louis Armstrong - "To Swing is putting the notes in the right place, not too early or not too late."
Artur Schnabel - “Applause is a receipt, not a bill.”
B. Jazz – Jazz is a style
1. It is recognized as the only true American Art Form
2. It is part of our cultural heritage. It is more difficult than other forms because the style dictates
freedom of expression, spontaneity improvisation, spontaneity and listening.
3. There are understood interpretations of the printed page, which are difficult and almost
impossible to write down.
5. Purpose of the music is to communicate feelings and emotion.
6. Students can express themselves through Jazz with its spontaneity and improvisational style.
7. If students are introduced in a programmed manner, they can learn, be proficient and have fun.
I believe that many of the elements of jazz are inbred in our culture. These elements are all
around the students every day in all the media. They just need to be identified, pointed out,
practiced, repeated and the students given the opportunity to be spontaneous with them. It
doesn’t take long to learn some basics and you can be a budding, spontaneous, improvising jazz
musician.
8. Andre Previn - "The basic difference between classical music and jazz is that in the former the
music, is always greater than its performance -- Beethoven's violin Concerto, for instance is
always greater that its performance -- whereas the way jazz is performed is always more
important than what is being performed."
9. Buzz Words - Listen!!!! - Two-Four!!!! - Never, Ever Rule!!!! - Loud!!!!
Sample Lesson Plan
Paul Hindemith - “People who make music together cannot be enemies, at least while the music
lasts.”
Part 1 - This plan is aimed at elementary level but with change in literature can be adjusted to middle
school, high school, college or teachers.
1. A. Intro – Jazz is a Style, it requires improvisation, spontaneity, listening
Andre Previn - "The basic difference between classical music and jazz is that in the former the music, is
always greater than its performance -- Beethoven's violin Concerto, for instance is always greater that
its performance -- whereas the way jazz is performed is always more important than what is being
performed."
B. Demonstration Song –
1. Sing or play any song appropriate for grade level – sing or play a
straight version
2. 2nd time, add accompaniment and scat singing or play jazz version or
play jazz version of same song.
3. What did I do differently during the performance?
a. Improvised (made it up as I sang), composed, expressed some of my own ideas and feelings.
b. This is JAZZ - I changed the style or dressed it up by modifying:
Melody - Changed the notes and added some of my own
using words and scat syllables to express my mood
or thought at that moment.
Rhythms - Changed them and added some of my own,
Accented beats 2 and 4.
Dynamics - Softer with accents, shaping of tones
Tone Color - Changes the sound of my voice according to
the emotion or mood I wanted to express and
communicate.
C. We are going to sing JAZZ, but we need to learn a couple of things first
1. Group sings: “Yankee Doodle” –
2. Sing using different descriptions - (Big, Small, Brave, Scared, Afraid, Happy, Mad,
Sad, Friendly, Student Choices)
a. You changed or modified – Style, Mood and Timbre
b. You changed those by changing the
Melody
Rhythm
Dynamics
Tone Color (Timbre)
D. Let's explore these some more
1. Rhythm - Swing Style - Accent on beats 2 and 4
a. Sit and move –
1=left thigh slap, 2=right fist in air
3= left thigh slap, 4=right fist in air
OR
b. Stand and move
1= Stand stationary, 2=bend at knee or move hip
3= Stand stationary, 2=bend at knee or more hip
2. Style - Sing "Yankee Doodle" Use 2 and 4 movement
Notice:
a. Melody - You wanted to alter or changed it
b. Rhythm - It naturally wants to change, let it. They naturally
want to syncopate some rhythms
c. Dynamics –It is almost soft with accents
d. Tone Color - According to mood of singers
e. Style - Song changed from a nursery rhyme to a "Cool" song
f. Try it on 1 and 3 and see what happens.
3. Summary - You sang swing style jazz and improvised or changed the original song.
E. Review –
1. Jazz is a Style - It allows the performer to change the elements
(Melody, Rhythm, Dynamics, Tone Color,) according to their own
mood and abilities: This is improvisation
2. Confirm what they have learned - Use a different song - Appropriate for grade level.
Disney Tune, Pop Tune, Spiritual, etc.
3. "Twinkle, Twinkle" ( Use other appropriate songs for your situation)
a. Sing - “Twinkle, Twinkle" sing it straight
b. Sing - "Twinkle, Twinkle" sing it in a jazz swing style - check for:
(1) Rhythm – Jazz – 2-4
(2) Dynamics – soft with accents
(3)Tone Color – describe the star
(4)Style - From nursery rhyme to "Cool"
c. Scat if you can
4. Listen!!!!, listen!!!!, listen!!!! and listen!!!! some more.
Part 1a – vocal jazz style exercises how it sounds, how it looks
Gustav Mahler - “What is best in music is not to be found in the notes.”
Richard Sennett – “Every actor and musician has a text upon which to base his art, but he can treat
the text in one of two ways. . .. In music this means asking how far the system of musical signs
printed on the page can actually represent the music the composer heard in his head. If you believe
these signs – the notes, the loud and soft markings, tempo indications – are an adequate language,
then in perform the piece you concentrate on realizing in sound what you, the performer, read. If
you believe music cannot be adequately notated, than your tasks in the performance is to find what
is missing from the printed page. “
A. Rhythms –
1. Swing Style
2. Straight eighth’s
3. First some rhythm exercises
B. Harmony – Whole not exercise
1. Shape
2. Moods
3. Colors
C. Melody - Vocal Lines and Inflections Henry Threadgill – “Music should go right through you, leave some of it inside you, and take some
of you with it when it leaves
Articulations – symbols
1. Melody exercises – no vibrato
2. Time After Time – Written
3. How High The Moon – Written
D. Buzz Words
1. Never, Ever Rule!!!! - Never ever start and hold a note at the same dynamic or
tonal level, it must change. Sting the note. There are exceptions.
Exceptions aren't the rule.
2. Loud!!!! - Jazz is mostly a softer dynamic style. This allows for all the dynamics
changes, shadings and accents.
3. Two-Four!!!! - Some body part between your nose and your toes (other than your
clicking fingers) must being grooving on two and four or there is
no swing style.
4. Listen!!!! - You must listen to live musicians and recordings to identify what you
are trying to do and compare it with established styles
A - Train
E. A Little Humor
1. Elvis Presley - “I don’t know anything about music. In my line you don’t have to.”
2. Samuel Taylor Colderidge - “Swans sing before they die – ‘twer no bad thing, did certain persons die
before they sing.”
3. Igor Stravinsky - “Too many pieces of music finish too long after the end.”
4. Lou Holtz, Jr. - “The trouble with real life is that there’s no danger music.”
Part 1b - Other Related Concepts (How to adapt these in your efforts to communicate through a
song and/or improvisation)
1. Voice Production and Tone
a. Sound
(1) Vocal Jazz Sound – Similar to madrigal tone
Timbre – Experimental sounds
Which register?
Lift or push tone?
(2) Instrumental imitation
b. Ballads
(1) Emotion – Timbre changes to match mood Refer to Yankee Doodle
(2) Word painting- Misty - Rote
(3) Take your time
c. Vowels – Usage according to group or solo singing
d. Consonants – Vernacular endings versus classical endings - Yankee Doodle Examples
e. Dynamics – Not a loud style - Accents – Never, Ever Rule!!!
f. Vocal Jazz Inflections – Shake, Gliss Up/Down, Fall Off, Smear, Plop, Flip,
Doit, Flip, Ghost Not Examples from C – 1a
g. Vibrato – No vibrato on unisons and jazz chords (maybe at end of long note value)
Vibrato destroys the close harmonies.
h. Group decisions - Interpretation and articulations based on music and feel from the
ensemble as opposed to director's decisions.
2. Elements of Musical Sound
a. Rhythm
b. Dynamics
c. Melody - Harmony
d. Timbre
3. Properties of the voice
a. Power Source –
Air, lungs, and diaphragm
b. Vibrator –
Vocal folds
c. Resonators –
The different cavities
d. Articulators –
Tongue, lips, teeth, vowel formation, language (the vernacular)
Part 2 – Improvisation
Louis Armstrong – “There’s only two ways to sum up music: either its good or it’s bad. It it’s good you
don’t mess about with it, you just enjoy it.”
A. Simplest - (See Elementary lesson plan first) 5 – Fast Blues in Bb
1. Blues progression - 12 bar blues
a. Sing DO on I and IV chords and RE on V chord
b. Improvise rhythms only
c. Improvise pitches moving step-wise from DO.
2. Blues Scale
a. Teach blues scale by rote
b. Use scat syllables to begin improvising rhythms and pitches on scale tones
3. Improvising Drills 9 – Slow Blues in G
a. Two bar call and response expanding to four bars
b. Riffs
c. Original conversations - Students stand in a circle. First starts a two bar conversation with
person next to him. That person responds for two bars, then turns to the next and starts
another conversation. A person can pass. They learn from one another by modeling.
B. Advancing - Must become familiar with – Ray’s Blues
1. Blues Scale –
a. Use scat syllables to being improvising rhythms and pitches on scale tones
b. Conversations - Two bars, four bars, twelve bars. Fast Blues in Bb
2. Melodic riffs, licks (motives) – different chord positions
Chord Structure – Use easy progression song and use same techniques
3. Scat vocabulary –
a. Dictated by tune, mood, tempo
b. Lots of ideas in books
4. Compositional techniques –
a. Melody - Motive, Repetition, Imitation, Sequence, Antecedent phrase,
Consequent phrase, Contrast, Symmetry, Balance, Inversion,
Retrograde, Conversations, etc.
b. Ella style – Use words to create original melody on chord progression of
original tune
c. Use classical motives – Play A-Train
5. General comments a. When doing any of the above, remember to focus on one element at a time, then combine two
or more.
b. Use short drills and phrases from other books - adapt to Aebersold Blues progressions
6. LISTEN!!!!!!!
Part 3 - Choosing literature
Arturo Benedetti Michelangelli - “Bad music disturbs me, but wonderful music disturbs me even
more.”
A. Considerations –
1. General - ages of singers, range, skill levels
(a) Skills – pitch and rhythm accuracy
(b) Voice – age, range,
(c) Style – ballad, rock, swing
(d) Elements - Melody, rhythm, Harmony, timbre
(1) Melody – If working on melodic style, don’t complicate rhythm and harmony
(2) Rhythm –If working on more challenging rhythms, don’t complicate melody or
harmony
(3) Harmony – If working on more challenging harmonies, don’t complicate the rhythm.
Use a ballad in the beginning. Students must know scales and chord
formations.
(4) Timbre – match the sound of the voice to the text.
B. Recorded Examples –
1. Are you listening to the vocal part or instrumental part?
2. Do you have the capabilities to reproduce the accompaniment Live?
3. Will the arrangement still sound good with just keyboard or split keyboard using piano and
bass?
4. Should you use a pre-recorded accompaniment?
C. Literature – Examples
1. Beginner – Accompanied First, the simple a cappella
(a) Unison First – spiritual, folk song, pop song, cartoon theme
(b) Combine two elements and finally all of them Examples:
(c) Two Part – Linear – Each trading background written scat Ex.
(d) Three Part – Easy chords and rhythms
(e) Scat – written unison, simple 2 part, , original
Ex. Work one at a time that is If it’s a rhythm challenge, then make sure the other elements
are easier.
2. Examples
(a) All of Me – Words and Music by Semour Simons and Gerald Marks – Arr. Zegree
Hal Leonard
(b) Hit That Jive Jack – Words and Music by John Alston and Cambell Skeets Tolbert.
Arr. Kirby Shaw – Hal Leonard
(c) When I Fall In Love – Words by Edward Heyman, Music by Victor Young –
Arr. Kirby Shaw – Hal Leonard
(e) Time After Time – Words by Sammy Cahn, Music by Jule Styne – Arr. Kirby Shaw
Hal Leonard
3. Advanced – Accompanied – advanced a cappella
(a) Four Part – Choose difficulty (rhythm, harmony, melody, vocal range, voice splits and style
interpretation) and mix and match as in Considerations.
(b) Four and Five Part + - lots of arrangements are SSATB and use some upper voice chords in
4ths
(c) Difficult harmonies – Use ballads first
(1) student must understand chord structure and singing dissonances as used in Major 7 th
chord, 9th, 11th, 13th, etc. and chords built in 4ths.
(2) Use a ballad in the beginning. Students must know scales and chord formations.
(c) Rhythms – Students must be able to read advanced simple and compound time rhythms.
(suggestion) copy out some rhythm drills from percussion books
(d) Scat – Written advanced 2 part, Chordal (5 part+), original
4. Advanced Skills
a. Triads – Solfege Major, minor, Diminished, Augmented
th
th
th
th
b. 7 Chords - Solfege – Dominant 7 , Major 7 , minor 7 , half diminished and diminished
7th. Then they’ll understand 9ths, 11th, 13ths and chords built in 4ths.
c. Scales - Solfege Major, Minor, Harmonic Minor, Melodic Minor, Chromatic and Blues
Scales.
5. Examples –
(a) Do Nothin” Till You Hear From Me – Words and Music by Duke Ellington and Bob Russell
Arr. Steve Zegree – Hal Leonard
(b) I’ve Got You Under My Skin – Words and Music by Cole Porter, Arr. Kirby Shaw –
Hal Leonard
(c) Michelle – by John Lennon and Paul MC Cartney – Arr. Gene Puerling – Shawnee Press
(Hal Leonard)
(d) Nice ‘N’ Easy – Words and Music by Lew Spence, Alan Bergman and Marilyn Bergman –
Arr. Kirby Shaw – Hal Leonard
6. Arrangers (a) Easier – Jay Althouse, Roger Emerson, Mark Hayes, Kirby Shaw, Steve Zegree, Teena Chin
(b) More Challenging – Anders Edenroth (Real Group), Darmon Meader (New York Voices),
Paris Rutherford, Steve Zegree, Teena Chin, Gene Puerling
(c) Newer – Michelle Weir, Greg Jasperse
7. LISTEN!!!!
Part 4 - Resources –
Aebersold, Jamey -
Nothin’ but Blues –
Body and Soul and others
Jamey Aebersold Jazz, Inc. – Contemporary CD’s
Anderson, Doug - Jazz and Show Choir Handbook
Hinshaw - 1978
Ankney, J.R. - The Exciting World of Vocal Jazz (Eastern Division MENC)
Director of Choral Music - 1999
Shattuck-St. Mary’s School
Faribault, MN 55021
507-333-1606
[email protected]
Primarily A Cappella – catalogue
1-800-827-2936
P.O. Box D
Email: www.a-cappella.com
San Anselmo, CA 94979
Stoloff, Bob – Scat - Gerard & Sarzin Publishing – CDs
Stoloff, Bob – Blues Scatitudes – Gerard & Sarzin Publishing Co. - CDs
Strommen, Carl - The Contemporary Chorus - Alfred - 1980
1. Artists –
Groups
Individuals
A Cappella Project
Boyz II Men
Four Freshmen
The Hi-Los
Lambert, Hendricks, Ross
The Kings Singers
Manhattan Transfer
New York Voices
Pentatonix
The Real Group
SoVoSo
Swingle Singers
Take 6
Voca People
Louis Armstrong
Patti Austin
Ella Fitzgerald
Al Jarreau
Diana Krall
Cleo Lane
Bobby McFerrin
Maureen McGovern
Mel Torme
Diane Reeves
Cassandra Wilson
Tierny Sutton
Esperanza Spaulding
2. Playlist
1 Take the ‘A’-Train
1 Blackbird
2 How Do You Keep the Music Playing
2 How High The Moon
2 Porgy and Bess Medley
3 Anything Goes
3 Mack the Knife
3 Take the ‘A’ Train
3 Take the ‘A’ Train
3a Fascinating Rhythm
3a Lullaby of Birdland
4 Fly Me To The Moon
4 I’ve Got You Under My Skin
5 All God’s Chillun Got Rhythm
5 Lullaby of Birdland
6 Honeysuckle Rose
6a Softly, as in a Morning Sun
6a Surrey With the Fringe On Top
6a If I Loved You
7 Ray’s Blues
8 Down South Camp Meeting
8a Down South Camp Meeting
8a Java Jive
9 ‘Round Midnight
9 Baroque Samba
9 Oh, Lady Be Good
9 All Blues
10 Chili Con Carne
10 It Don’t Mean A Thing
10 Flight of the Foobirds
11 Down By the Riverside
11 People Get Ready
12 Theme from “Superman”
12 It’s A Lovely Day Today
12 My Lord, What a Mornin’
12 Penny Lane
12 Drive My Car
12 Yesterday
13 Carol of the Bells
Bobby McFerrin
Bobby McFerrin
Patti Austin
Patti Austin
Patti Austin
Ella Fizgerald
Ella Fitzgerald
Ella Fitzgerald
Duke Ellington
Dianne Reeves
Dianne Reeves
Diana Krall
Diana Krall
Mel Torme/George Shearing
Mel Torme/George Shearing
Jane Monheit
Tierney Sutton
Tierney Sutton
Tierney Sutton
Ray Charles
Benny Goodman
Manhattan Transfer
Manhattan Transfer
New York Voices
New York Voices
New York Voices
New York Voices
The Real Group
The Real Group
The Real Group
SoVoSo
SoVoSo
Swingle Singers
Swingle Singers
Swingle Singers
Swingle Singers
Swingle Singers
Swingle Singers
Pentatonix
The Voice
The Voice
Internet Video
Internet Video
Internet Video
Ella Returns to Berlin
Ella Returns to Berlin
Ella Returns to Berlin
Best of the Big Bands
The Calling
The Calling
Live In Paris
Live in Paris
An Evening with George Shearing
An Evening with George Shearing
Taking A Chance On Love
I’m With the Band
I’m With the Band
I’m With the Band
Blues + Jazz Disc 1
Best of the Big Bands
Swing
Swing
New York Voices
New York Voices
What’s Inside
What’s Inside
Nothing But the Real Group
Nothing But the Real Group
Unreal
SoVoSo World Jazz A Cappella
SoVoSo World Jazz A Cappella
Notability
Notability
Notability
Ticket To Ride
Ticket to Ride
Ticket To Ride
Official Video