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: KellyScottMusic14@att.net; PH: 904.703.8687
Website: www.KellyScottMusic.com
-Jazz Vocal History At A GlanceThis 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 20 th
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
ANGEL EYES
AS TIME GOES BY
BODY & SOUL
COME RAIN OR COME SHINE
DON’T EXPLAIN
GEORGIA
GOD BLESS THE CHILD
GOOD MORNING HEARTACHE
HERE’S THAT RAINY DAY
(IN MY) SOLITUDE
I’VE GROWN ACCUSTOM TO HIS FACE
LOVERMAN
LUSH LIFE
MISTY
MOONLIGHT IN VERMONT
MY FOOLISH HEART
MY FUNNY VALENTINE
MY ONE & ONLY LOVE
MY ROMANCE
POLKADOTS & MOONBEAMS
‘ROUND MIDNIGHT
SINCE I FELL FOR YOU
SOMEONE TO WATCH OVER ME
STARDUST
TENDERLY
THE MIDNIGHT SUN
TRAVELIN’ LIGHT
WE’LL BE TOGETHER AGAIN
WHEN I FALL IN LOVE
YOU DON’T KNOW WHAT LOVE IS
YOU MUST REMEMBER SPRING
A FINE ROMANCE
A FOGGY DAY
AFRO BLUE
AIN’T MISBEHAVIN’
ALL OR NOTHING AT ALL
ALONE TOGETHER
AUTUMN LEAVES
DO NOTHING TILL YOU HEAR FROM ME
DON’T GET AROUND MUCH ANYMORE
DOODLIN’
I LET A SONG GO OUT OF MY HEART
I’LL REMEMBER APRIL
I’M BEGINNING TO SEE THE LIGHT
IN A MELLOW TONE
IT HAD TO BE YOU
I THOUGHT ABOUT YOU
JUST IN TIME
JUST SQUEEZE ME
LULLABY OF BIRDLAND
MEAN TO ME
MOONGLOW
MY FAVORITE THINGS
MY SHIP
NICE AND EASY
ON THE SUNNY SIDE OF THE STREET
OUR LOVE IS HERE TO STAY
SATIN DOLL
SHINY STOCKINGS
SPEAK LOW
SOFTLY, AS IN A MORNING SUNRISE
STOMPIN’ AT THE SAVOY
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
ALL OF ME
ALL THE THINGS YOU ARE
BEAUTIFUL LOVE
BYE, BYE BLACKBIRD
CHEROKEE
EASY TO LOVE
HONEYSUCKLE ROSE
HOW HIGH THE MOON
I CRIED FOR YOU
I’M OLD FASHIONED
IT DON’T MEAN A THING
I WANNA BE HAPPY
JUST FRIENDS
LOVE FOR SALE
MERCY, MERCY, MERCY
MY SHINING HOUR
NIGHT & DAY
ON A CLEAR DAY
RHYTHMING
SECRET LOVE
SWEET GEORGIA BROWN
TAKE THE “A” TRAIN
THAT OLD BLACK MAGIC
UNTIL I MET YOU (CORNER POCKET)
WELL, YOU NEEDN’T
YESTERDAYS
BLACK ORPHEUS
CORCOVADO (QUIET NIGHTS)
DESAFINADO
DINDI
GENTLE RAIN
IPANEMA
GREEN DOLPHIN STREET
HOW INSENSITIVE
NATURE BOY
NICA’S DREAM
OUT OF THIS WORLD
THIS MASQUERADE
SONG FOR MY FATHER
TRISTE
WHEN SUNNY GETS BLUE
INSTRUMENTALS
ANTHROPOLOGY
APRIL MIST
BILLY’S BOUNCE
CONFIRMATION
DIG
DOXY
GIANT STEPS
JOY SPRING
MOOSE THE MOOCH
OLEO
SANDU
SO WHAT
TAKE 5
TENOR MADNESS
THE BLUES
ALL BLUES
BLACK COFFEE
BLUE MONK
EVERYDAY I HAVE THE BLUES
FINE & MELLOW
GEE BABY, AIN’T I GOOD TO YOU?
I’VE GOT IT BAD (& THAT AIN’T GOOD)
MOANIN’
ROUTE 66
ST. LOUIS BLUES
SUMMERTIME
WELL ALRIGHT, O.K, YOU WIN
WILLOW WEEP FOR ME
Never stop learning more tunes!!!
-WHOM TO LISTEN TO-RECOMMENDED VOCALISTS/INSTRUMENTALISTS-PIANO-BASS-DRUMSDave 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
-VIBESEddie Metz, Clyde Connor
Ramsey Lewis
Red Norvo
-VIOLINJoe 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)
-EUPHONIUMRay Charles (v)
Eddie Locke
-HARMONICANat King Cole (v)
Rich Matteson
“Toots” Thielmans
Shirley Horn (v)
Pete Petersen
Diana Krall (v)
Howard Levy
Jeff Phillips, Lynne Ariale
-VOCALISTSPer Danielssen, Stephan Carlson (FEMALE)
-GUITARMa 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/REEDSJohn Coltrane “Trane”
Ed Calle, Stan Getz
Charlie Parker “Bird”
Ernie Watts
Cannonball Adderly
Lester Young “Prez”
Ornette Coleman
Dexter Gordan
Coleman Hawkins
Illinois Jacquet
Jim Snyder (clar.)
Eddie “Lockjaw” Davis
Wayne Shorter
Gerry Mulligan
Sidney Bechet
Ben Webster
Sonny Rollins
Louis Jordan
Johnny Hodges
Phil Woods
Eric Dolphy
Joe Henderson
Arnette Cobb
Sonny Stitt
Zoot Sims
Bud Johnson
Art Pepper
Pee Wee Russell
Eddie Daniels
Bud Freeman
Michael Brecker
Bransford Marsalis
Jackie McClean
Jimmy Noone
Stanley Turrentine
Paul Desmond
Paquito Derivera
Don Byas, Lew Tabackin
Benny Carter
Buddy DeFranco
Joe Lovano
Joshua Redman
Benny Golson
Freddie Keppard
Pete Fountain
Johnny Griffin
Terry Myers
Also………….
The Heath Brothers (3)
Billy Strayhorn (w/ Ellington)
-TRUMPET/FLUGELLouis Armstrong-“Satchmo”(v)
Freddie Hubbard
Woody Shaw
Bobby Shew
Rex Stewart
Clifford Brown
Miles Davis
Dizzy Gillespie “Diz”
Henry “Red” Allen
Bix Beiderbecke
Chet Baker (v)
Ruby Braff
Lee Morgan
“Cat” Anderson
Clark Terry
Buddy Boldon
Lester Bowie
Buck Clayton
Donald Byrd
Nat Adderly
Blue Mitchell
Roy Eldridge
Harry “Sweets” Edison
Maynard Ferguson
Chuck Mangione
Tom Harrell
John Faddis
Art Farmer
Bunk Johnson
Booker Little
Scotty Barnhart
Jonah Jones
Claudio Roditi
Fats Navarro
Red Nichols
Wynton Marsalis
Bill Prince (all horns)
Arturo Sanduval
Thad Jones
JB Scott
Nicolas Payton
Bobby Hackett
-DIXIELANDLouis Armstrong (Hot 5/7)
Original D/L Band
Dukes of D/L
Creole Jazz Band
King Oliver
New Orleans Rhythm Kings
-TROMBONESlide Hampton
J.J. Johnson
J.C. Higginbotham
Jack Teagarden
Bob Brookmeyer
Herb Bruce
Dave Steinmeyer
Carl Fontana
Rosswell Rudo
Curtis Fuller
Jimmy Knepper
Frank Rosolino
John Fedchock
Bill Waltrous
Al Grey
Bill, John Allred
Steve Davis
-BIG BANDCount Basie (piano)
Duke Ellington (piano)
Woody Herman (clarinet)
Stan Kenton (piano)
Fletcher Henderson
Benny Goodman (clar.)
Glenn Miller (trombone)
Tommy Dorsey (trombone)
Artie Shaw (clarinet)
Chick Webb (drums)
Gene Krupa (drums)
Cab Calloway (voice)
Jack Teagarden (trombone)
Eddie Condon (guitar)
Buddy Bolden (trumpet)
Buddy Rich (drums)
George Shearing (piano)
Jimmy Lunceford (sax/reeds)
Harry James (trumpet)
Earl “Fada” Hines (piano)
Thad Jones (trumpet)
Dave Brubeck (piano)
Charlie Barnet (sax)
Quincy Jones (piano)
Miles Davis/Gil Evans
Don Menza (sax)
Maria Schneider
Toshiko Akiyoshi
Maiden Voyage (all female)
Vanguard Jazz Orchestra
Lincoln Center Jazz Orch.
Army Jazz Ambassadors
-RESOURCE BOOKS: TUNE SOURCES & PRACTICE MATERIALSThese 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
JAMEY 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-MusicBacking/dp/1859098800
-CONSIDERATIONS AS A JAZZ VOCALISTQUALITIES 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 CHECKLISTBased 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 MUSICIANJust 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
Major KEY
(Lisa Kelly-Scott 1-29-2-12)
-SCALE DEGREES 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)
(#)
Key ………………..
#’s On staff ……
1
G
F#
2
D
C#
3
4
5
6
A
E
B
F#
G# D# A# E#
7
C#
B#
(b)
Key ……………….
1
F
2
Bb
3
Eb
4
Ab
7
Cb
b’s On staff …..
Bb
Eb
Ab
Db Gb
(left to right) >>>
5
6
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
ra me
se le te
#
do
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:
1
(K/S) G
(#, b) F#
(#)
2
3
4
5 6
7
D
A E
B F# C#
C# G# D# A# E# B#
(b)
1 2
3
4
5
6
7
F Bb Eb Ab Db Gb Cb
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!
Recommended Reading:
“EFFORTLESS MASTERY” By Kenny Werner Book & CD © 1996 $18.00-$20.00
P.O. Box 536 Scotch Plains, N.J. (07076-0536) ISBN 1-56224-003-X