JAZZ CHOIR (jaz kwir) n. 1. It don't mean a thing if you ain't singin' with a swing!
by Diane Abrahamian, NYACDA R&S Chair for Jazz and Show Choirs
Greetings! As your new R&S Chair for Jazz and Show Choirs, I would like to share some ideas and suggestions to the many music teachers who direct a ``jazz choir'' but (1) are not sure where to look for quality vocal jazz literature, and/or (2) are hesitant in their approach to the literature once they have it.
Over the years, I have attended various conferences and festivals and have observed many so-called ``jazz choirs'' performing everything from madrigals to Miami Sound Machine medleys. What happened to real Jazz literature? While some jazz choirs do perform arrangements of classic jazz standards, I perceive a lack of understanding of the stylistic elements, appropriate rhythmic articulations, jazz inflections, and appropriate tone quality for this style. I have seen ``jazz choirs'' perform with little or no improvisation, or with students who improvise haphazardly over the chord changes with little regard to tonality and style, using every consonant and vowel combination known to mankind!
There is a growing interest in augmenting the public school choral program with the ``jazz choir.'' However, many vocal music teachers may be caught unprepared to teach jazz because they have not had the educational background and performance experience in this idiom. Unfortunately, the term JAZZ sometimes ends up becoming a generic term for pop, rock, country/western, and show tunes. It is important for you, as the teacher, to have a good understanding of this American art form in order to successfully teach it to your students.
To truly perform well in the jazz idiom, it is imperative that your students are educated in the recognition of musical jazz styles. Attributes of each style include rhythmic characteristics and types of appropriate rhythmic articulations, melodic and harmonic characteristics, various jazz inflections, and the tools that are used to create and improvise a solo. It is also important for students to learn that proper, healthy vocal habits should be applied to all styles of music, including the jazz styles. If your students are already working toward a mature, clear, well-supported, focused and energized tone, teaching them to achieve a desired vocal jazz sound will be easy. Tell your students to sing with a ``mature, breathy'' quality! At first they may look at you like you're nuts (mature, breathy???!), but that's good. It means they're listening! Let more air escape through their ``mature voice'', saving the vibrato for sustained tones. Next, suggest that your students add more warmth and soulfulness, and darken the vowels slightly (there's nothing worse than a choir of Edith Bunkers!) They'll be on their way to using a vocal quality that is more appropriate to a jazz style.
Each jazz choir rehearsal should also consist of listening time and improvisation time. Improvisation is one of the most important characteristics of jazz. In the study of improvisation, students will learn musical forms and harmonies, in addition to developing creativity. Ear training is fundamental to successful jazz improvisation. A vocalist must be able to hear chord changes in order to build a scat solo over them. Improvisation and jazz interpretation require strong powers of attention and concentration. I start my jazz choir rehearsals with everyone singing the Blues scale ascending and descending, using swinging eighth notes (with an emphasis on the off beat). Using notes from the Blues scale, I improvise a 2 bar solo as a call and response (the choir repeats exactly what I sing). I incorporate syncopated rhythms, articulations, and inflections that are characteristic of this style. I then have each student lead an improvised call and response. Each student will also try a 4 bar improvised solo (using the notes from the Blues scale). Eventually, we progress to a 12 bar solo. There are many different improv exercises that you can use on the Blues scale alone. It is also important for students to know that rests are as important as notes; and if the ensemble is singing in a specific style (swing, Latin, be-bop, etc.), then the improv solo should also be reflective of that style.
Another successful improv exercise is to have the students sing the chord progression of a tune using arpeggios. This will give them a true understanding of the form and harmonic progression. You can even begin by singing only the root of each chord on a given syncopated rhythm, then sing the root and 3rd, then the root-3rd-5th, root-3rd-5th-7th, etc. Still another routine for the development of listening and improv skills using the 12 Bar Blues progression is to tell each student to begin their improv solo with either the rhythmic or melodic ideas with which another soloist has ended. This exercise really forces listening and the students learn from each other. In any tune, there will be a chord progression to which you can apply these simple exercises. After the students have practiced singing the chords, have them sing ascending and descending scales (modes) that correspond to each chord. For example, students would sing the mixolydian mode over a dominant 7th chord (Major scale with a minor 7th), or a pure minor scale (Aeolian mode) over a minor 7th chord. You've all taken Theory - I know you can figure it out! You owe it to your students to give them the tools to improvise. I'll go into more detail on improvisation (including rhythmic elements and appropriate scat syllables, etc.) in a future article. I also recommend having your students work with the Jamey Aebersold Improv Sing-A-Long recordings which feature a complete rhythm section playing many of the classic jazz standards, including the Blues. They can practice with these tapes (albums or CD's too) outside of your jazz choir rehearsals.
In order to perform jazz rhythms accurately and stylistically correct, it is important to teach your students about the different types of accents, and their articulations (i.e. vertical accent, horizontal accent, shake, smear, etc.). My jazz choir students always speak the rhythm of a piece to insure they can accurately articulate the swing feel (or be-bop, Latin, etc.) and rhythmic elements before they learn the notes. Listening to recordings of great jazz instrumentalists is a good way for vocal jazz students to hear exactly what crisp rhythmic articulation is all about. As I mentioned earlier, improv time and listening time should be a part of each rehearsal. I find that listening to great jazz vocalists, instrumentalists, and ensembles (vocal and instrumental) at the beginning of a rehearsal helps inspire and motivate students. In addition, it helps to make them more aware of different jazz styles (Dixieland, Swing, Be-Bop, Latin, Ballads, Contemporary Jazz, etc.) and the characteristics of each. It also provides a better understanding of the elements of an outstanding improv solo, as well as specific examples of rhythmic articulations that can be applied to your jazz choir music.
To become more familiar with jazz music, I recommend listening to the Smithsonian Collection of Jazz. Your local public library or college music library may have a copy. This collection contains outstanding examples of both vocal and instrumental jazz artists from early Blues, as well as Dixieland, Swing, Be-Bop, and contemporary jazz styles. In addition the Smithsonian Collection of Jazz contains an accompanying booklet with information about each style and the performing artists. As a supplement to the Smithsonian collection, I recommend reading the book, Listening To Jazz by Jerry Coker. It's quick and easy reading about different jazz styles, improvisation, and an overview of jazz history. For those of you who are interested in learning more about vocal improvisation, you and your students might also enjoy reading Vocal Improvisation - An Instrumental Approach by Patty Coker and David Baker (it also comes with a demonstration tape). It is an excellent in-depth study of chords, scales/modes, jazz articulations, jazz rhythms, scat syllables, and much more!
These are only a few of the artists that have inspired me and my students. I play a recorded selection of a different jazz artist or ensemble at each Jazz Choir rehearsal.
Jazz Vocalists - Deborah Brown, Ella Fitzgerald, Jon Hendricks, Billie Holiday, Al Jarreau, Sheila Jordan, Eddie Jefferson, Bobby McFerrin, Carmen McRae, Mel Tormé, Sara Vaughan, Joe Williams.
Vocal Jazz Groups - The Real Group, Lambert, Hendricks and Ross, Rare Silk, The Ritz, New York Voices, The L.A. Voices (with Super Sax), Take Six, The Double Six of Paris, Manhattan Transfer.
Jazz Instrumentalists - Chick Corea, Ben Webster, Dizzy Gillespie, Louis Armstrong, John Coltrane, Miles Davis, Charlie Parker, Coleman Hawkins, Lester Young, Wynton Marsalis.
Big Bands - Count Basie, Duke Ellington, Benny Goodman, Woody Herman, Maynard Ferguson, Eastman Jazz Ensemble, Artie Shaw.
Last, but not least, is the topic of repertoire. UNC Jazz Press is a gold mine of vocal jazz literature. They are the world's largest publisher of Jazz Music. There is something for everyone at every level, including the standard SATB voicing, numerous arrangements for Women's and Men's ensembles, arrangements for Jazz Choir accompanied by Jazz Ensemble, and Vocal Soloist with Jazz Ensemble. You will find jazz arrangements for every occasion including Christmas! I have been using UNC Jazz Press with my Jazz Choir at Penfield High School exclusively singe 1988 (which is when I first discovered UNC Jazz Press!). I have over 50 UNC Jazz arrangements in our music library and every one is a winner! You can write to UNC for their Vocal Jazz Catalog at:
All of the other resource materials mentioned in this article are readily available at most music stores.
I hope some of the ideas that I've shared with you will be helpful. If you have questions or comments, fell free to contact me at Penfield High School, 25 High School Drive, Penfield NY 14526 (716-248-3000, ext. 336). I also hope that the rest of your year will be filled with many happy musical memories!