Sing, Sing, Sing With a Swing Jazzing up Community Choirs

ChorTeach page 3 Choral reasons for creating and/or sustaining a choral program: It is valuable for the health, mental and choral, of our state. It broadens the scope of choral singing in your community and shows that you are serious about singing being a lifelong pursuit. Nebraska is largely comprised of small communities. Many of our communities have thriving high school choral programs. Do the students see adults singing? Do they see choral music as something more than a school activity? It enlarges the scope of your musical infl uence in your community. Personal reasons for creating and/or sustaining a choral program: There is nothing quite like directing a church choir to challenge and improve your teaching and conducting skills. It refreshes your musical soul. It gives you more reasons to sing a wide array of music and thus broadens your view of choral music. I ask myself this question: "If I stopped directing the choir at my church, would the church see to it that the choir continues?" The old analogy about the hand in a bucket of water just doesn t hold water. The choir ministry at my church is, in my opinion, viable because I love pouring my energies into it. That s not to say that it s "my thing." Yet, it is. I was given a gift from God, and I m grateful my church encourages me to use that gift. I ll bet your church encourages you, too. Without a doubt, the key component to creating and/or maintaining choral singing in worship settings is the dedication, skill and commitment of the choir director. I ask you to challenge your church, your congregation, to allow you to use your leadership and your conducting gifts, too. Sing, Sing, Sing With a Swing Jazzing up Community Choirs by Stephanie Austin Leston, Contra Costa College, San Pablo, California (Reprinted with permission of the author, January 2010) I'm Beginning to See the Light Several years ago, I embarked on a journey seeking ideas to energize my community choir, entice new membership, and excite our audiences. My fi fty-voice choir performed masterworks as well as octavos. Members were happy with rehearsals and repertoire. Performances were well attended. However, I sought inspiration that would take the choir to the next musical level as well as raise the ensemble's visibility in our part of the state. Attending a vocal jazz ensemble concert one evening, I was inspired. The literature was captivating and fun. The singers were excited. The harmonies were intricate and the arrangements interesting. These particular groups featured six to twelve singers. I thought, "Could this literature work for my fi fty-voice choir?" An idea began to evolve. Initially, I searched for appropriate literature and methods. However, the realization soon grew that this genre did not fi t within traditional choral training. Further, where does one fi nd the literature? How did one approach the score? Through much trial and error, vocal jazz ensemble literature became standard spring repertoire for my choir. Working with this genre was both inspiring and challenging for the choir as well as for me. From these experiences, I would like to share some ideas and encourage you to sing with a swing! Getting to Know You Getting Started Choosing literature to fi t your choir will be the fi rst stop on your musical journey. Many vocal jazz ensemble scores or charts, as they are often called are arrangements of jazz standards from the Great American Song Book, which contains a wealth of artistically crafted literature from which to choose. Some publications feature writtenout jazz accompaniments and sample scat (improvised) solos. Arrangements can be purchased through many publishers as well as individual arrangers websites ( Table 1). A number of these websites contain demonstration sound clips and feature diffi culty ratings that can aid you in choosing repertoire.

ChorTeach page 4 Vocal Jazz Ensemble Literature Resources Listed below are some vocal jazz ensemble publishers. This list is by no means comprehensive. It is simply a good beginning. Hal Leonard Corporation (www.halleonard.com) Shawnee Press, Inc. (www.shawneepress.com/) UNC Jazz Press (www.uncjazzpress.com/) Sound Music Publications (www.smpjazz.com/) MichMusic Store(www.micheleweir.com/catalog/) Kerry Marsh (www.kerrymarsh.com/live/) When choosing literature, start with swing or Latin arrangements. Ballads, which are closest to traditional choral literature, are often more challenging to craft authentically in jazz. Swing or Latin rhythmic styles will help choir members and directors get the feel of the music more quickly. Choose quality arrangements by analyzing voice leading, contrapuntal sections, text treatment, harmonic interest, stylistic integrity, and arrangement excitement. Find music that fi ts your choir. If you have great soloists, use them. If not, pick charts that feature only choral ensemble singing. The size of your ensemble is also a consideration because some arrangements will work more effectively with large choirs than others. Arrangements that feature unison and two-part contrapuntal writing with four to six-part accent sections are great places to begin (Table 2). Literature Suggestions These are a few charts that work for larger choirs and can introduce both director and choir to the style. There are many other arrangers as well. All of Me Kirby Shaw The Days of Wine and Roses Greg Yasinitsky Young & Foolish Jennifer Barnes The Look of Love Steve Zegree Like Someone in Love April Arabian-Tini A Night in Tunisia Sharon Broadley This Can't Be Love Paris Rutherford Early Autumn Anita Kerr What type of introduction and ending does the artist use? How many choruses (number of times the form is repeated) are played? Are there solo improvisation sections and where do they occur? Does the soloist or the ensemble embellish phrases with bends, glissandos, shakes or turns? This type of analytical listening will help directors approach vocal jazz ensemble literature with confi dence. Getting' It Together Warming up At fi rst Matt was not sure about the jazz oriented warm up exercises. He was shy about singing alone and unsure of his skills. A few weeks after we started these musicianship drills, Matt said, "This is my favorite part of the rehearsal because I can see improvement." Begin by exploring several key concepts: swing (groove), ear training, and jazz vocal sound. Swing feel is a major component in vocal jazz interpretation. Antonio Garcia suggests that swing feel can be accomplished by singing "all eighths long, accenting upbeats rather than downbeats, and placing the degree of swing-eighth feel somewhere between 12/8 and an even 4/4." 2 One strategy is to use a blues, such as C Jam Blues by Duke Ellington (Figure 1). Since the tune does not use text, attention can be placed solely on rhythmic feel and accents within the phrases. Using triplet subdivision, analyze the eighth note usage. After the literature has been chosen, you should adapt the arrangement to fi t your choir. Jazz scores are blueprints of the fi nished product. Often, performance practices are not notated. Diana Spradling suggests listening to various vocal and instrumental versions of your song with an ear for format, arrangement and articulation. 1 Analyze professional recordings by asking these questions: Choir members can speak the rhythm, placing 'doo' on the beat and 'daht' off the beat. The 'daht' will give a slightly accented feel. Experiment with lengthening the 'daht' so that the effect is extremely legato. Continue speaking and add jazz bass or piano accompaniment.

ChorTeach page 5 Jamie Aebersold has produced a jazz, music-minus-one accompaniment series which will help choir members feel the swing, the groove. Once the choir is comfortable, add the melody. This strategy can be used as a teaching method and a subsequent warm up exercise. Dissonances between vocal parts are the norm for jazz harmony. They shift from chord to chord. This shifting creates challenges between vocal sections for tuning intervals such as major sevenths, augmented fourths (in jazz: fl atted fi ves), and minor seconds. Begin with exercises that work these particular intervals. Unisons can also present an ensemble challenge. Work within sections and between sections to achieve a 'one voice' sound (no vibrato and exactly the same vowel) and good intonation. These exercises can be expanded to four-part major, minor, and dominant seventh jazz chords. For example, select a diffi cult chord from the arrangement. Begin with the choir singing one chord tone. Next, alternating choir members, add a second tone. Vary the exercise with focus on one vocal section, e.g., altos. Build the section beginning with two singers. Continue with this exercise each rehearsal until alternating choral members can simultaneously and securely demonstrate all of the chordal tones (Figure 2). as well as sustained balladlines. Finally, when introducing the vocal jazz style listening examples, use clips from solo and ensemble records. Include big bands as well as vocal jazz ensembles (Table 3). Ensembles These groups' sound could provide an appropriate model for a larger choir. New York Voices Anita Kerr Singers The Real Group Rare Silk The Singers Unlimited Take 6 Brazil 66 Listening sessions should be an integral part of rehearsal and/ or sectionals. Choir members can be encouraged to trade recordings of jazz groups. If your repertoire includes ballad, swing or Latin styles, fi nd a variety of examples demonstrating jazz phrasing and sound. These models will give you ideas on performance, and the choir examples of tone, diction, and groove. YouTube can be a great resource from the internet. I Hear the Music Rehearsing Joanne was beaming at the end of rehearsal. The choir had just fi nished rehearsing a section of an arrangement. The chords were locking. The singers were moving to the beat and phrasing the text together. Joanne said, "I love the sounds we are making!" A large part of intervallic tuning is vocal placement, control, and support of the tone. Vocal jazz uses a more focused or direct approach to tone, but this does not mean unsupported or immature tone. A trained and fl exible tonal palette is key to stylistic interpretation. Within a choir, all sections must work towards even and controlled tonal production in quickly articulated lines, syncopated lines, Much of the interpretation and performance of vocal jazz ensemble literature is not apparent from the page. Text delivery requires sections and ensembles not only to breathe together, but also to sync diction and phrasing. Harmonic accuracy requires constant listening and vocal adjustment. Swing or Latin rhythms and grooves must be felt together. When introducing an arrangement, begin with the rhythm. A good strategy is to avoid conducting while teaching and coaching the written music. Singers will shift their focus from visual reliance to concentrated listening and internal rhythmic ownership. Since many charts feature syncopations and contrapuntal lines, ensemble members must internalize the beat. Practice clapping and counting the rhythms, alternately, using a metronome and rhythm section accompaniment. Expand this strat-

ChorTeach page 6 egy by rhythmically speaking on both scat syllables and the text. This method reinforces accuracy, section security, and articulation. Stephen Zegree suggests that in order to achieve sonic clarity, vocal jazz ensemble singing features a straight tone. Straight tone encourages chordal intonation because of the close harmonies between inner voices. However, other vocal tonal palette considerations could include head voice, chest voice, appropriate mix, amount of vibrato, vowel formation, maturity of sound, ratio of breath to tone, placement, and degree of resonance. 3 Brian Roberts believes that each genre has a 'sound vocabulary' which is that particular genre's defi nition of acceptable or desirable sound. From this sound vocabulary, every group should have its optimum sound on which the interpretation is placed. 4 In order to be performed well, vocal jazz ensemble selections require precise musicianship skills. Holding one's part against other sections dissonances requires and promotes accuracy, security, and ownership. Small vocal jazz ensembles usually feature one to a part. However, larger ensembles have two or more voices per part. This increases the challenge and requires precise intonation and articulation. Charles Facer offers a strategy to aid with singer precision. Choral members can bring individual recording devices to rehearsals. During rehearsal, the director can ask all members to sing directly into their device. 5 Today's technology allows recordings to be sent via email. Alternately, the recording devices can be given to section leaders for review of the various members singing. Vamp The Rhythm Section David said, "I love when the rhythm section plays for rehearsal. I have to work harder to hear my part, but the instrumentalists add the spark that brings the music to life!" Vocal jazz ensemble literature is performed with rhythm section accompaniment or a cappella. The rhythm section consists of a piano or guitar, bass and drums. These instrumentalists read rhythm section charts and improvise stylistic accompaniments. Choose the best jazz pianist, bassist, and drummer that are available. These players have a wealth of experience and may have already performed the charts you have chosen. Further, directors will gain stylistic and arrangement insights through these rehearsal collaborations. Regular rehearsals, with members of the rhythm section, are essential to intonation and the attainment of authentic jazz feel. Eva Pisciotta suggests intonation is problematic because the chordal structure of vocal jazz ensemble literature is more complex than popular music. It presents unique diffi culties in balance and intonation. 6 Initially, choir members may have trouble tuning ensemble chords. An effective rhythm section strategy is to alternate rehearsal attendance between jazz piano and bass. The choir will benefi t from this interaction as soon as vocal parts are comfortably learned. Watch What Happens Choir Benefits Frances has been a faithful audience member for years; however, she was particularly delighted with the jazz-themed concert. The choir sound, improvising instrumentalists, and fun arrangements were exciting for her. In 2007, Robert Johnson reported that directors, nationwide, are looking for avenues in which to inspire present membership and to enhance their choir's image. 7 Incorporating vocal jazz ensemble literature energizes choral organizations and encourages musical growth for individual choral members in these areas: musicianship skills, audience appeal, and membership recruitment. Stephen Zegree suggests vocal jazz ensemble literature can reinforce ensemble, blend, balance, and intonation skills in choral ensembles. 8 Further, this genre is usually sonically amplifi ed, which magnifi es individual utterances and increases the need for individual competence. Because of this fact, rehearsing vocal jazz ensemble literature strengthens individual and choir musicianship skills in rhythm, intonation, control, accuracy, and ensemble. Programming this repertoire attract diverse audiences. This music features grooving feels and accessible lyrics. Many of the songs are familiar to audience members both young and old. Audience appeal is an important factor for the continuing health and success of community choirs. However, an additional contribution of this literature is its membership recruitment and gratifi cation potential. Each year, choral singers graduate from high schools, colleges, and universities. Singers decisions to join a choir are often based on regularly programmed literature and performance quality. Choirs that program vocal jazz ensemble literature can be attractive to potential members seeking a more contemporary outlet. From this Moment On I have traveled an exciting musical journey since my fi rst vocal jazz ensemble venture many years ago. My choir members and I have enjoyed the music and the challenge. Incorporating vocal jazz ensemble literature was helpful and energizing to my community choir. With benefi ts such as quality literature, musicianship, audience appeal, and membership recruitment, the addition of this genre can

ChorTeach page 7 only be a positive infl uence on your program, I believe. With components including rhythmic groove, creative instrumentalist interactions, and songs of integrity, your next concert can explore a new and exciting genre that will have lasting musical impact on your singers, your organization, your audience, and you! Music In - Between the Notes and from Other Cultures by David V. Montoya, La Habra High School, La Habra California NOTES (Reprinted with permission of California Cantante, Winer 2010 Vol 22, No 2) 1 Spradling, Diana R. "Repertoire & Standards Committee Reports: A Vocal Jazz Listening Checklist for Developing Jazz Enthusiasts." Choral Journal 41, no. 10 (May 2001): 39-41. 2 Garcia, Antonio J. "Learning Swing Feel or How to Sculpt an Elephant." International Trombone Association Journal 34, no. 2 (April 2006): 3. 3 Zegree, Stephen. The Complete Guide to Teaching Vocal Jazz: Including Pop and Other Show Styles. Dayton: Heritage Music Press, 2002. 16. 4 Roberts, Brian. "Music Makers: Choral Utterances." Canadian Music Educator 47, no. 1 (Fall 2005): 38. 5 Facer, Charles. "Repertoire & Standards Committee Reports: Community Choirs The Singer's Accountability." Choral Journal 42, no. 3 (October 2001): 40-41. 6 Pisciotta, Eva M. "The History of Jazz Choir in the United States." D.M.A. diss., University of Missouri-Kansas, 1992. 7 Johnson, Robert. "Repertoire & Standards Committee Reports: Miami Convention, Community Choir R&S Roundtable." Choral Journal 47, no. 12 (June 2007): 47 48. 8 Ephland, John. "Guided by Voices: Vocal Jazz Programs Aim to Develop Singer's Personalities." Down Beat - Jazz, Blues & Beyond 75, no. 10 (October 2008): 102 04. When you help someone up a hill, you get that much closer to the top yourself! Anonymous The twelve-tone equal-tempered octave: twelve glorious tones that have created the rich legacy of music we hold dear each and every day. If only there were a way to have even more music...more notes...more wonderful sound with which to express our deepest emotional experiences. After all, why should an octave, which means eight, be divided only into twelve parts? In Western tradition, the major/minor paradigm we study for mastery in college, which we drill into our Advanced Placement Music Theory students heads, is only part of the story. What about cultures which use different modes that go beyond our familiar (or woefully unfamiliar) church modes? How much music is there to be had if we explore outside our normal boundaries...out of our own comfort zone? The music of the Middle East, of India and other Asian countries, for example, offers us an opportunity to expand our ears, our musical sensibilities and our cultural understanding. Even American composers who are fascinated with the possibilities (me included) produce music which gives insight into this subject and allows us to dabble in music from a vast cultural heritage. Our own comfort zone may be temporarily threatened, but sound is relatively harmless, and our students deserve to know more about other musics, the sounds of other societies and cultures. There are at least 30 recognizable, singable pitches in the space of a chromatic octave. Learning to sing some of them apart from equal tempered piano tuning can be a great experience for any musician. For example, choirs can easily sing an equal tempered major third (as in C to E) when the piano is sounding, but learning to sing the major third which comes from the overtone series (which is 386 cents out of the equal-tempered 400 cents, or 14 cents fl at to the piano) can be a surprise and a deeply satisfying experience. Let s try it! Play a C-G drone an octave below middle C. Sing a major third and feel the resonance of the pure third (with no help from the piano). Then play the E on the piano and notice how it is actually sharp to the note you were singing. Bingo! There s another pitch you can sing within an octave!