SUGGESTED TEXTS JAZZ and CONTEMPORARY

VOICE

Anne Peckham The Contemporary Singer

Anne Peckham Vocal Workouts for the Contemporary Singer

Bob Stoloff Scat

Judy Niemack Hear it and Sing it! Exploring Modal Jazz

Kim Chandler Funky ‘n 4 Fun Challenging Riffs CD

Kim Chandler Funky ‘n Fun 1–3 Vocal Exercise CDs

Maribeth Bunch Dayme The Performer’s Voice

Mark Baxter The Rock’N’Roll Singer’s Survival Manual

Seth Riggs Singing for the Stars

Amelia Peri Vocalises and Exercises
Ear training

(Intervals; phrasing; ornamentation (licks and agility exercises), syncopation, improvisation)

Judy Niemack Hear it and Sing it! (Interval exercises over the modes)

Judy Niemack Hear it and Sing it! (Call and response exercises to develop aural ability and improvisation skills)

Listening to various artists (from early blues and roots to current artists) to develop phrasing and feel appropriate to different Contemporary styles. It is recommended that students become familiar with the vocal style and phrasing of classic blues and rhythm and blues artists such as BB King; Ray Charles etc. as a foundation for more Contemporary styles.

Anne Peckham The Contemporary Singer (various exercises based on minor pentatonic scales) Development of vocal agility and licks.

Kim Chandler Fun ‘n Funky CDs 1 and 2 – Agility and licks exercises. Also tracks on both CDs for creative jam/open improvisation.
Syncopation

Bob Stoloff Scat (designed for jazz singers but there are great exercises for developing rhythmic precision, articulation and syncopation for all contemporary vocalists. Good exercises for vocalising large intervals.

(Vowels, consonants; articulation; scat; onset; flexibility; arpeggios)

Anne Peckham The Contemporary Singer – various exercises for coordinated onsets

Bob Stoloff Scat – various exercises to develop articulation skills and scat language

Judy Niemack Hear it and Sing – various exercises to develop flexibility, articulation, vowels and scat singing

Kim Chandler Funky ‘n Fun CDs 1 and 2 (vowels, consonants, articulation, flexibility and arpeggios

Kim Chandler Funky ‘n Fun CD 3 (scales and arpeggios)

Maribeth

Seth Riggs Singing for the Stars

(Phrasing; alignment; breath support; messa di voce; flexibility)

Judy Niemack Hear it and Sing – various exercises for improving flexibility

Kim Chandler Funky ‘n Fun CDs 1 and 2 – various breathing exercises

Maribeth

Bunch Dayme The Performer’s Voice – various exercises (alignment and breathing)

Anne Peckham The Contemporary Singer – various exercises

Judy Niemack Hear it and Sing – Track 7 (range)

Kim Chandler Funky ‘n Fun 2 Track 6 (twang)

Seth Riggs Singing for the Stars – exercises to help develop coordination through the vocal range
Vocal resonance

Also refer to texts recommended for Western Art Music

(Tone colour; vowels)

Anne Peckham The Contemporary Singer – various exercises

Judy Niemack Hear it and Sing exercises 1–4

Kim Chandler Funky ‘n Fun CD 1 – Track 9

Kim Chandler Funky ‘n Fun CD 2 – Track 5

Maribeth

Dr Gloria Cooper and Don Sickler Jazz Phrasing

Listening to various artists

Michele Weir Jazz Singer’s Handbook – The Artistry and Mastery of Singing Jazz

Bob Stoloff Blues Scatitudes

Bob Stoloff Scat! Vocal Improvisation Techniques (CD included)

Dan Haerle Scales for Jazz Improvisation: A Practice Method for All Instruments

Dan Hearle The Jazz Language

Denis Diblasio Guide for Jazz and Scat Vocalists

Hal Crook READY, AIM, IMPROVISE! Exploring the Basics of Jazz Improvisation
Hal Crook How to Improvise: An Approach to Practicing Improvisation
Jerry Coker Patterns for Jazz: Treble Clef

Judy Niemack Hear it and Sing it! Exploring Modal Jazz (CD included)

Michele Weir Vocal Improvisation (CD included)

Oliver Nelson Patterns for Improvisation

Judy Niemack Hear it and Sing it! Great vocal warm ups and technique exercises

Maribeth Bunch Dayme The Performers Voice

Seth Riggs Singing for the Stars; A Complete Program for Training the Voice

VOCAL STYLISTIC DIFFERENCES – CONTEXTS

Aspect	Western Art Music	Music Theatre	Contemporary	Jazz
Text	Can be: narrator, character. Essential to tell the story. Expression of personal involvement in the story through the face and eyes.	Be the character. The character sings the song and tells the story.	Personal connection to the story. Individual interpretation of the text. The ‘story’ is essential in successful performance delivery.	Jazz singer has a conversation with the audience. Tell a personal story.
Tone	Vocal line is paramount and vowels used to create a stream of sound. Tone colours are ‘red’ and ‘white’ appropriate to style (or dark and light, covered and open). A north-south orientation of the mouth shape. Focus on pure correct vowels (Italian or ‘RP’ in English). Lift of the soft palate important	Tone varies according to whether legit or belt. Legit sound is more vowel-dominated and light – similar to WAM (but further forward in placement and brighter). Belt is darker and more spoken-voice (speech level) quality. Belt is an east-west orientation of the mouth – generally no scooping. Tone is used for effect. NB: ‘Legit’ – classical technique.	Wide range of tone colour is appropriate but very important to understand the style e.g. the difference between soul and rock, pop and country is often in the tone. Speech quality – consonant driven short vowels, articulated, twang, sob, belt. An individual and unique tone is essential. Tone reflects the character of the ‘person’ in the song.	The whole range of sound and colour is appropriate from growling to sweet to hard to brilliant, glottal to open onset.
Diction	Must be clear – but tone can’t be sacrificed for clarity. This may include gliding consonants and adjusting vowels to create a more beautiful line. Foreign accents must be authentic and diction appropriate.	It is essential that every word is clear. Diction must be clear at all times. Words bright and forward.	Related to style – may sing on the consonants, use American or regional accent and diction if appropriate. The words are an integral part performance delivery, therefore crisp and articulated consonants to fully communicate the text. (Consonants may be modified for microphone technique e.g. ‘p’ becomes ‘b’). Focus is on text.	Words are clear, but American accent is usual. Consonants are often used expressively e.g. long ‘n’ and ‘m’ sounds. Articulated consonants.
Vowelling	Rounded vowels. Italian vowel shaping. Beautiful sound essential.	Appropriate to genre. Legit: clear classical-like vowels but still within a speech-like delivery of the words. Belt – more contemporary-like, no rounding of vowels.	Speech vowels and vowel mixes (diphthongs) Ah – father A – aid (diphthong) EE – Seam I – Ice (diphthong) O – show (diphthong) OO – moon Vowels modified to reflect emotion and message.	Vowels are modified to reflect genre and origin of composition – geographically.
Consonants	Clear and crisp. All consonants must be short and not sustained (unless indicated in the music). Consonants must not compromise the vowel-to-vowel shape of the musical phrase unless explicitly marked in the music.	Very articulated – focus on inflections and declamatory utterances. Legit: All consonants must be articulated clearly. Belt: slight emphasis on beginning consonants in each word.	Lots of articulated consonants. Stylistically appropriate to the character.	Speech
Phrasing	Singer must decide which is more important – music or text phrasing? Text phrasing: breathing usually indicated by punctuation marks i.e. full-stops, commas	More driven by text, but the signer must decide which is more important – music or text phrasing? Text phrasing: breathing usually indicated by punctuation marks i.e. full-stops, commas.	Can be used as personal ‘stamp’. Not always driven by punctuation points in the text.	Phrasing as for normal conversation. Text driven.
Ornaments/ Inflections	As indicated in the music. In Baroque music – can be improvised (in rehearsal) by the singer when rehearsing for performance.	As indicated in the music. Some Jazz or Contemporary inflections if appropriate to repertoire.	Contemporary inflections as appropriate. Vibrato – used as embellishment at the ends of phrases or long held notes. Rock generally uses straight tone. Belt – consonant driven Vocal licks Ad lib Improvisation	Jazz inflections as appropriate
Improvisation	None. Must sing all notes on the page. May be rubato only where indicated. Some improvisation/ornamentation appropriate in Baroque works, such as da capo aria. Some rubato implied in certain genres e.g. French Impressionist music (Faure, Debussy)	None. Must sing all notes on the page. May be rubato where indicated (usually marked on score). Some Jazz or Contemporary inflections if appropriate to repertoire (Contemporary Music Theatre).	Contemporary vocalists have complete freedom to express and develop own unique style and interpretation. Ad lib and improvisational elements are often incorporated.	An expectation. Improvisation must be original and not a transcription.
Dramatic action/performance	Tell the story through the face and voice – no dramatic action.	Essential. Be the character in the context of the song. May (but not necessarily) involve some physicalisation (gesture, moving within the performance space etc.)	Movement appropriate to style and personal connection to the song.	No movement/choreography related to telling the story. Personal telling of a story – as a conversation.
Accompaniment	Piano	Strongly suggest piano	Piano, live band/guitar CD/backing track if no alternative available.	Piano, live band/guitar CD/backing track if no alternative available.

Aspect	Western Art Music	Music Theatre	Contemporary	Jazz
Other expectations	Acoustic performance only	No costume necessary. Acoustic – microphone	Use of microphone	Use of microphone
Score presentation for examination	Full score required	Full score required	An accurate detailed performing score must be presented, clearly outlining the candidate’s part, form/structure, instrumentation and order of solos/improvisations. Minimum requirement lyrics with chords and layout of map of song e.g. chorus, bridge Sheet music preferred with map clearly marked	An accurate detailed performing score must be presented, clearly outlining the candidate’s part, form/structure, instrumentation and order of solos/improvisations. Minimum requirement Lead sheet with chords, repeats Sheet music preferred with map clearly marked
Attention to notation in performance	Must sing what is indicated in the score. Some improvisation/ornamentation in Baroque works where appropriate.	Must sing as indicated in the score. May use rubato as indicated, and Contemporary and Jazz inflections as appropriate to repertoire.	Sheet music is used only as a guide. Vocalists need to demonstrate individuality, both in tone and presentation of repertoire.	Sheet music is used only as a guide. Vocalists need to demonstrate individuality, both in tone and presentation of repertoire.

[Used by kind permission Program Coordinator Voice, Instrumental Musical School Services]

2014/51500v2 Music resource package for the Practical component (Performance)

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