Figure 2. Blues vamp chord progression with bass line.

West Coast and cool jazz performers often to the performance that cannot be dupli- provide a familiar and relatively simple
use no vibrato while blues and bebop cated or repeated by other musicians. harmonic context for most students. The
singers frequently employ vibrato. Several Although they are not “scat” per se, these bass line/chord progression above may
genres, including ballads and various moments of improvisation represent the be used as an introductory vamp for im-
Latin jazz styles, may combine straight wide range of vocal techniques available provisation:
tone and vibrato. It is not uncommon to to jazz singers. See Figure 2 above.
hear a long note value treated without The first step to scat singing with this
vibrato early in its duration and then Lesson in Scat Singing progression might be to perform the bass
progress to a more gradual and liberal use The first attempt to scat as a soloist line with neutral syllables, such as “doo”
of this device. may seem intimidating to students who with “bah” on the accented eighth notes.
The treatment of tone in vocal jazz can have the potential to excel in this area. Percussive and resonant articulations
range from a breathy or a smoky sound Therefore, it will be most beneficial for should be employed to imitate the pizzi-
to a more bright and brilliant color. Many the ensemble to experience scat singing in cato of an upright bass.
jazz singers experiment with a variety of unison prior to having individuals “jump See Video 2 below.
vocal timbres to convey the text and emo- into the deep end.” Blues progressions Continued on page 26
tions of a chart to the audience. Several
singers, such as Louis Armstrong, Billie
Holiday and Antonio Carlos Jobim, have
a distinct and unique tone that is recog-
nized and identified immediately upon
listening. A variety of tonal palates in
vocal jazz provides numerous opportu.
nities for young musicians to explore
improvisation and individual interpreta-
tion.
Stylistic nuances are unique to certain
genres and categories of the jazz idiom.
Scoops, smears and swinging note pat-
terns are often heard in standard charts
as well as in contemporary arrangements
of such tunes. The use of a “shout chorus”
may include preach singing or spoken
commentary, such as the following audio
clip of Stompin’ at the Savoy with Louis
Armstrong and Ella Fitzgerald:

These impromptu interjections add an

element of excitement and authenticity
 The next step to scat singing with this Next, consider subtracting certain no- existing syllables, ornament the arpeggio
progression may include arpeggios of tes from the existing outline to create outline and reverse several intervals to
each chord in the progression as illus- rhythmic variety and syncopation: See enhance the solo: See Figure 5 below and
trated and demonstrated in the example Figure 4 below and Video Clip 4 at right. Video Clip 5 at right.
below in Figure 3 and Video Clip 3 at right. Finally, add more variation to the Continued on page 28