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    Tecnica vocal libro 4

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    Tecnica vocal libro 4

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    4K vues122 pages

    Vocal Technique 4

    Transféré par

    juanajuanitajuana15
    Tecnica vocal libro 4

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    © All Rights Reserved
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    Ieee mea alo DNAse vocal Vocal Technique 4 ‘ounte By Anthony Ed d by Joe Bergamini Instructional Design: Dr, Rachel Yoon, Dean of the School of Performance Studies, Musicians Institute Layout by Rick Gratton M ngraving by Willie Rose Mil Curriculum Series Series Sponsor: Jon Clayden, Vice President of Academic Affairs Creative Director & Executive Editor: Donny Gruendler, Vice President of Instruction and Curricular Managing Editor: Joe Bergamini orks LLC for Miby\ Executive Producers: Rob Wallis, Joe Bergamini, Mike Hoff ytight © 2014 M All Rights Reserved yrigh icians Institute, Inc. VOCAL TECHNIQUE 4 Unit 1 Introduction to Vocal Technique 4 4 Introduction to Principles of Interpretation & Improvisation 5 1 2. 3. Ornamentation, Embellishment, Scatting & Stylization 4. Chart Reading - "Happy Birthday,” by Wynton Marsalis Unit 2 1 Preparatory Warm-Up 2. Pentatonic Scale 3. Chart Reading: “Rattlesnake Blues” Unit 3 1. Preparatory Warm-Up 2. Rhythm Changes 3. Chart Reading - "Swing Like a Greasy Gate” Unit 4 1. Preparatory Warm-Up 2. Rhythmic Interpretation 3. Chart Reading —"The Itsy Bitsy Spider” Unit 5 1 Preparatory Warm-Up 2. Chart Reading —“Boxin’ Fox" 3. Chart Reading -“Island Time" 4. Chart Reading -"Bonzie’s Blues” 9 18 21 24 29 31 35 40 42 48 51 53 59 61 62 Unit 6 1. Preparatory Warm-Up 64 2. Chart Reading -"The Posh Squash” 70 3. Chart Reading - “Cut Loose, Moose!” 72 4. Chart Reading "Grumpy Old Frog” 3 Unit 7 1. Preparatory Warm-Up 75 2. Chart Reading —"Be the Bop You Wish to See” 81 3. Chart Reading - “Minor Thing” 83 Unit 8 1. Preparatory Warm-Up 85 2. Advanced Chord Scales, Part 1 91 3. Chart Reading - "Haunted Jungle” 95 Unit 9 1. Preparatory Warm-Up 97 2. Chart Reading - “Creepy Leaky Cauldron” 105 Unit 10 1 Preparatory Warm-Up 107 2. Session Etiquette & Protocol 115 3. Chart Reading -"High-Ten!” 118 4. Sources 120 About the Author 121 ela = Chapter 1: Introduction to Vocal Technique 4 e «cal performance: breathing and breath ion, posture, diction, vowels and articulation, vocal registration, the singing, range extension, tone quality, and vocal health; among others, As you near the next, phase in your life as a fulltime working professional musician, itis time to take your technique to the next level and focus on two of the main ingredients of contemporary music: interpretation and improvisation. Through assessing and executing topics such as scatting, styli ellshment articulation, tension/resolution, groove-based considerations, chord progressions, transcriptions, communicating with instrumentalists and working with your band, you will soon be on y call vocalists with the ability to professionally express yourself and deliver world-cl contemporary musical style and genre. Welcome to Vocal Technique 4, the culminating course of your technical vocal studies. By now you developed a rock-solid foundation in the most critical forms o support, resonation, vocal project physiolo tion, ornamentation & em urway asa first- ss vocals in any Course Description In this course, you will continue to learn about the ny piece of music with the proper vocal technique. Through a thorough exploration of vocal philosophy, preparation, tools, decision-making, phrasing choices and communication, you will rapidly grow as asi al musician. This wil be accomplished through the execution of literature reading, transcription exercises, vocal warm-ups and chart reading, Through these studies, you will gain the confidence and experience necessary to demonstrate poise, confidence and professionalism in every musical engagement you will participate in for the rest of your life Objectives Through this course, you will develop the ability to identify and utilize specific musical time-feels or‘grooves” and their corresponding rhythmic patterns. You will learn to interpret, shape, and enhance melodies using propriate improvisations and stylizations characteristic in various musical idioms. Skills and topics covered in this class will allow vocalists to project a rhythmic pulse consistent with stylistically appropriate considerations. You will learn to create arrangements and realistic practice and accompaniment recordings in a multitude of styles and keys using the Band-in-a-Box software, and will u the free Musescore to transcribe lead sheets, Through activity and analytical discussion, you will identi chord-scale relationships, building the melodic vocabulary required to improvise intelligently over sophisticated chord progressions. Unit 1= Chapter 2 Introduction to Principles of Interpretation & Improvisation Vocalists in the World on Instrumentalists Jennifer power walks down the jam-packed Massachusetts Avenue in Boston, MA, She holds a dozen pages of sloppily crinkled loose pieces of sheet music that she downloaded from the Internet, and looks down at her watch. Rehearsal was supposed to start three minutes ago. Agh’'she gasps. “On second thoughtshe thinks to herself "ths is my rehearsal. Surely | can arrive alittle late. The guys in the band must be thanking their lucky stars to get the chance to accompany an incredible singer like me. They can wait? She arrives at the rehearsal room to see the pianist, upright bassist, guitarist and drummer all set up and ready to go. It's time to begin preparing for their wedding cocktail hour gig, and she has picked a handful of tunes sheid like to perform. Jennifer places the fi piece of crumpled-up sheet music in front of the pianist. "Do you have a copy for me?" the guitarist asks. “Yeah, how about for me?" echoes the bassist. “No, only brought one copy. How abo Jennifer says, impatiently. t you all come over to the piano and read off of the pianists copy?” The instrumentalists look at each other, all locking eyes and exchanging an unspoken and unanimous the ‘Oh great, she’s one of those vocalists” “Well, what's the tune?" the guitarist asks 1 Get a Kick Out of You" Jennifer answers confidently. “Do you guys know what one?” “Yeah, of course!” they all reply. These cats ate seasoned players, and have memorized nearly every tune imaginable from The Real Book, Not only that, but they can all pretty easily play any tune in any key. They've been practicing hard for their entire musical lives, and on-the-spot transposition is something they've ‘worked diligently on in their practice routines “So what key would you like to sing this in?" the pianist asks. Jennifer pauses. She had never thought to figure that out before arriving to the rehearsal."The one Ella sings itin, obviously” she snaps. he instrumentalists all exchange another weary ql E> major?” you tell me the letter name of the key? Is it in “I don't know You guys figure it out! “Ugh: the bassist groans. The pianist shakes his head. "Can you sing the first few bars for me?” Jennifer gladly belts out the first line, get no kick from champagne, Mere alcohol doesr't'hmm hmm hmm all"Uh, | don't have the lyrics memorized all the way, let me look at my lyric sheet” The pianist has phenomenal aural skills and quickly figures out what key Jennifer would like to sing the classic Cole Porter tune in, “She wants to sing it in the key of A major, guys” “Awesome, that's a tritone above the original key!" the guitarist sarcastically exclaims. This is going to be a Jong rehearsal, he thinks to himself Jennifer doesn't really know what that means. She starts to grow irritated. “What's with all ofthis talking? I want to start singing!” “We have to figure out some basic parameters of the tune before we begin’ the pianist rebuttals. What kind of intro would you like?" “I don't know, just play something jazzy" Jennifer shouts At that instant, all pandemonium breaks loose in the rehearsal room. The bassist smashes his upright against the concrete wall. The guitarist rips all of his guitar strings off and chucks them across the room. The pianist starts repeatedly bashing his head on the keys. The drummer attempts to light his snare drum on fire Fantastic rehearsal, Jennifer. Okay, so maybe the last part about all pandemonium breaking loose (hopefully) isnt something that would truly happen, However, everything else in that story about Jennifers rehearsal couldn't be closer to the truth of the horrifyingly typical situations that inexperienced vocalists put themselves in, time and time again. Inthe world of instrumentalists, vocalists are often not taken seriously. nstrumentalists place a huge stigma upon singers, and unfortunately, this stigma is solidified on a consistent basis. Band members often feel that singers cannot communicate with the band, that we don't know the music well and that there is a division between the musical knowledge base of the instrumentalists and vocalist. In this Vocal Technique 4 course, we will fuel ourselves with the necessary knowledge to not only be able to communicate with instrumentalists intelligently, but to efficiently prepare ourselves for every rehearsal and performance situation. Well leatn how to create lead sheets, how to communicate the form of any given tune, how to count off the band with the correct tempo and groove/feel, how to improvise, and how to do all ofthe little things to give instrumentalists no choice but to view us as serious, professional musicians. 6 Vocal Technique 4 Unit 1 Chapter 2 g and Communicating with a Band In order to destroy any possible chance of this stereotype being projected onto you, here isa list of things that are absolutely necessary for a vocalist to know and prepare. 1). Know the tune, inside and out. You must learn the music fully, before you bring it to the band. Begin by analyzing the form of the song. Is it ABA? Verse-chorus-verse-chorus-bridge-chorus? Verse-refrain? ABAC? Learn the background of the song. Who is the composer? Which singer made it famous? Is it from a musical? Which one? You must also be aware of the chord changes. Analyze them fully. Know where the i-V7-15 are, What are the harmonic patterns? Are there any key changes? These are all standard things that instrumentalists do before they rehearse with a band; and in order to get the respect of the instrumentalists, you have to think like an instrumentalist. 2). Know your key. Figure out the key you desire to sing the tune in. Ifyou are singing it in a different key than is written in the Real Book, make sure you know exactly what key your version will be in before you come to the rehearsal. Go to the piano. Sing the first few bars of the tune and figure out what‘do"is by using your ears to match your “do” with the correct note on the piano. Your ear-training skills have prepared you well for this—so do it! 3), Learn the written melody first. So many vocalists simply listen to a version of the tune, and rely solely cn their ears. They'll sing the song like they hear it, with all of the licks and lines that the famous singer performs. Of course, you should absolutely make the tune your own; with your unique twists and turns. However, the very fist step is to learn the actual melody, as the composer intended it to be played. Ella didnt just start singing her own rendition of the melody right away. She leamed the exact notes as written on the sheet, and then brilliantly made it her ow, Itis crucial that you do the same thing 4), Listen to at least five different versions of the tune. Don't just settle for one version. Get on YouTube or Spotify and explore several different versions of the tune. You will instantly attain ideas for different arrangements, intros, endings etc Listen to multiple takes from multiple artists, and then make the tune your own, 5). Learn to count off the band correctly. Fist, figure out the tempo of your tune. Before you begin your count off, take a moment to internalize the exact pace and speed of the tune. Next, be aware of the genre, groove and feel of the tune. Snap or clap on every beat while you give a standard verbal numeric count-off, or at least on beats two and four. Figure out the time signature, and use those numbers to count off. Is the tune in 4/4? ifs0, a standard one, two, three, four will do the trick Isitin 3/4? Then youd better make sure you count to three when communicating your tempo to the band, 6). Learn how to create lead sheets. One of the best ways to set the tone for your professionali as a vocalist in the world of instrumentalists is to walk into the rehearsal or onto the band stand with crisply clear, accurate, perfectly legible and specific lead sheets. You may create them by hand if you have neat penmanship, but its recommended to use a music notation software program like Finale or Sibelius. ven though the best players will often know many of the standards that you select by heart, nothing gains respect more than coming in completely prepared with the correct chord changes, form and arrangement all nicely laid out on a sheet of paper. 7), Don't blame your mistakes on the instrumentalists. Even if we know the form by heart, we are human and sometimes may get lost in the form. When this happens, a common tendency is to get frustrated with the band, even though youre the one in the wrong! Don't let this happen. Shake it off and own up to your ertor. 8). Always bring a microphone and cable to the rehearsal and gig. Just lke 2 guitarist will always bring his guitar, amp, cables, pedals etc, we must bring all of our necessary equipment to every performance situation we encounter. Remember, preparation is 95% of the battle. If you show up prepared, with all ofthese tools in your musical toolbox ahead of time, you have the greatest possible chance of being viewed as a tue professional by the instrumentalists. You must respect yourself to earn the respect of others, and the best way to respect yourself a8 a musician isto practice, prepare, and perform with the same knowledge-base, clarity and confidence as, the instrumentalists you will be working so closely with for the rest of your professional life. 8 Vocal Technique 4 Unit 1= Chapter 3 Ornamentation, Embellishment, Scatting & Stylization Improvisation Improvisation is the act of spontaneous rhythmic and melodic composition within a piece of music. Occurring in genres as distinct as jazz, gospel, blues and R&B, the performer essentially cr the fly. Vocal improvisation can be executed by inventing an entirely brand new melody, variations on the written theme as the chord changes glide by underneath. Its one of the grea of musical freedom, and the feeling of expressing oneself by inst taneous composition is un} ne The general principal of improvisation is to first establish the melody of the piece. Let's use the simp! “Happy Birthday’ as our foundation for this chapter's Fitst,sing through the original melody inits original time signature. Bll J 20 c7 F c7 Gr F Hap - py birth - day 0 —_-you, hhap-py birth - day to you! Hap-py Bb F @ F birth - day dear Ton = y, happy birth - day 0 yout! Obviously this tune is very familiar to you. Now, take this same melody and a 3 it toa jazz swing feel: &x12 d=120 Hap-py birth-day to you, hap-py birth-day to yout F? B> F cor bith - day dear Ton - hhap-py birth - day to you! ‘As you have learned in your Sight Singing 4 studies (Unit 3, Chapter 2, p.72), the swing groove is driven by the underlying swung eighth-note feel. The fist and third eighth notes in a triplet pattem are used to create that unique swing groove. Notice in example 1.2 that the majority of notes are comprised of quarter and half notes. While these rhythmic values are used occasionally in swing, and standards from the Great ‘American Songbook are often written with quarter notes and half notes, they are meant to be adapted to swung upbeats—where eighth notes typically fal Sing through this next example of Happy Birthday" as a seasoned jazz musician may interpret it: 13 d=120 Oh hap-py birthday to you, (ah) hap - py c7 F FT =, birth - day ah’) to you! Oh hap-py birth = day ah’ dear - Bb Bini F c7 F Ton-y,—— hap - bint - day (ah) to you! There are a few things to note about this example. First, take a moment to observe and circle the differences in rhythmic values, How did the performer manipulate the downbeat rhythms from the original melody? Next, you will notice a chromatic passing tone in measure 5. These types of notes are extremely common interpretation tools within the jazz idiom, Please refer to your Sight Singing 4 studies (Unit 1, Chapter 3 p. 17)for a complete lesson in tension and resolution. This musical too! will appear throughout our upcoming studies of improvisation, so itis crucial that you become well versed in it Finally, take a look at the text, Notice the ‘oh’s and ‘ah’s interspersed throughout. As a vocal improviser, we have the liberty to artistically add stylistically appropriate lyrics to the written lyrics. These added lyrics are Used to add definite pitch rhythms to propel the song forward. Some examples of the most common lyrics used as improvisational tools include:"yeah;*hey/"alright"well7“oh/"ah/"uh huh;*you know/"let’s go"come ‘on*"woo! and "baby!" 10. Vocal Technique 4 Unit 1 Chapter 3 Now that you are comfortable singing the eighth note swing version of Happy Birthday’ sing through this next example that contains swung triplets and even more chromatic passing tones throughout: x14 d 20 c7 F c7 c7 3 a hap-py birth-day—(ah') to you, oh_hap-py birth-day___(@h') to Oh, F FT B> Boni v7 Oh hap - py bith = day, oh-dear Ton > F or F birth = day (ah) 10 In example 1.4, pay attention to the melismas (a sequence of multiple notes that are sung with the same syllable) that appear in measures 1, 5, 7, and 9. Concentrate on precise articulations and intonation of each note as it passes through ‘Swng triplets are tremendous tools to incorporate into your jazz vocal improvisation techniques. They are the driving force of all swung music, so they will undoubtedly give your improvised solos a substantial sense of forward motion, 2 Now that we have multiple versions of the "Happy Birthday” melody down pat, lets begin our assessme of the melodic elements of scat soloing The first step of vocal improvisation is to understand what chord scales you should use above each series of chord changes."Happy Birthday"is a fantastic song to begin learning how to improvise with, as it essentially free chords: HV-Y, throughout DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE c7 F DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE F7 Bb Boni DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE F c F F DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU Before singing through these chord scales, let's begin by identifying the corresponding scales with the various seventh chords that appear in Western music: 16 eieremaas Pita) Ponts Major 7th chord ima Major scale Major 7h chord Nonna? ‘ydian mode Minor 7th chord imi? Natural minor scale Minor 7th chord Noni? Dorian mode Dominant hchord __ | V7 function of Major ‘Mixalydian made Dominant Tthchord | V7 function of Minor key | Altered scale Dominant Tthchord | non? Tunetion dian b7 scale mi7b5) imi7b5) Locrian natural ain? vidi? Diminished scale Vocal Technique 4 Unit 1 Chapter 3 Now, take a look at the syllables used. The syllables“du vee du vee" are great starting points to begin creating scat syllables. To begin speaking the language of scat, just like the way we learned how to speak, itis crucial that you listen to all of the great scat singers of the 20th century and beyond. Engulf yourself in the music of Louie"Satchmo" Armstrong, Ella Fitzgerald, Leo Watson, Connie Boswell, Mel Torme, Slim Gaillard, Lambert, Hendricks and Ross, Leon Thomas, Al Jarreu, Urszula Dudziak, Lauren Newton, Jay Clayton, Bobby McFerrin, Kurt Elling and so, so many more. Continuing with our scat studies, sing through the triad outlines of each chord change: Ex 17 DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE c7 F DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE FT B> Bhi DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE F cr F DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU 4 While vocalists cannot on their own realize chord changes, itis crucial that we understand the compositional make up of the chords that sweep by underneath our soloing. In order to do so, we first must sing this triad outline: the first, third, and fifth scale degrees of the chord, Next, we shall expand the basic structure of the chords by adding the appropriate seventh scale degree into our chordal outline, Ina similar fashion to example 17, sing through example 1.8 with crisp, clear accuracy: x18 2-120 © DU VE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE cr Fna7 DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE FT BT BPmi7 ti DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE Fima? cr Fina? DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU Now that we understand the basic seventh chord outlines of this piece of music, let's dive even deeper and sing through all of the possible extensions from each chord. As you can recall from your Sight Singing 4 studies (Unit 1, Chapter 3, pp. 17), the typical extension notes of a seventh chord include the 9th, #11th and 13th. Sing through these triplet rhythms and outline each extended chord, Take it slow at first, and then build up to the specified tempo marking Remember: Before singing, always look ahead and think about the appropriate places to take a breath. Using your full breath support is crucial when singing a piece with many consecutive eighth notes. Vocal Technique 4 Unit 1= Chapter 3 B19 J=120 Fmal3¢#1) cen) 3 - 3 3 3 3 7 — 7 SHU_ BE DU_ BE SHU_ BE DU_ BE SHU_ BE DU_ BE SHU_ BE DU_ BE cen Fmal3(#11) Ki 2 ~ 2 = 7 3 “ . 3 - SHU_ BE DU_ BESHU_ BE DU_ BE SHU_ BE DU_ BE SHU_ BE DU_ BE FIséu) Bhmal311) Bhmil3@*11) 3 aN 3 > 3 7 7 “ 7 2 SHU_ BE DU_ BE SHU_ BE DU_ BE SHU_ BE DU_ BE SHU_ BE DU_ BE Fima7#11) 7 Fimal (#11) F 3 ~ 3 3 =~ ie 7 7 3 7 7 \U_ BE DU_BE SHU_ BE DU_ BE SHU_ BE DU_ BE SHU_ BE DU_ BE DU Notice the new syllables’shu be du be! Concentrate on your diction, and let the syllables roll off the tongue, Itis helpful to picture yourself performing these notes as a trumpet player; letting the text of each note flow right into the next one in the same way the notes from a horn do. 6 Sing through the following exercise containing downbeat passing tension tones, You may circle the tension tones, if needed, Ex 1.10 J=120 SHU BE DU BE SHU BE DU BE SHU BE DU BE SHU BE DU BE c7 F SHU BE DU BE SHU BE DU BE SHU BE DU BE SHU BE DU BE F7 BP Boni SHU BE DU BE SHU BE DU BE SHU BE DU BE SHU BE DU BE F c7 F SHU BE DU BE SHU BE DU BE bu Now that we are comfortable singing through nearly every possible aspect of the chord changes of Happy Birthday/'t is time for you to create your own unique scat solo. First, sing through the melody, interpreting it in any stylistically appropriate way you see fit. Use swung rhythms, triplets and chromatic & diatonic passing tones Then, use the scat syllables of your choice to spontaneously compose a brand new melody. Use the original melody or*head'’of the tune as your starting point and musical foundation. Rely on every motif, if lick and line that you've heard before. They lie in the deepest storage boxes of your musical memory and they will guide you along the way. You may sing through the melody, perform your scat solo ance or twice through the form, and then sing the melody again. You may also sing through the melody as a group, and then take turns improvising through the form; finally singing the melody once more as a group. Express yourself to the fullest and have fun! Remember: If you land on a funky note that may not exactly “fit"the chord, you are always a half-step away from salvation. Vocal Technique 4 Unit 1 Chapter 3 beta J=120 Hap-py birth-day to you, hap-py birth-day 10 you! Hap-py F7 Bb Boni F oF F bith = day dear Ton - y, hhap-py birth - day wo youl - = F cr cr F F7 Be Boni F cr FT c7 Chart Reading - “Happy Birthday,’ by Wynton Marsalis 2007. ed a spontaneous Wynton Marsalis, ne of the great jazz musicians of our time, performed "Happy Birthday’ ata clinic in He demonstrated the endless possibilities for soloing over this simple song form, and ci improvised composition over the chard changes. Perform the following transcription on the next page of the first two choruses of Wynton’s solo with a partner, One vocalist should scat the solo using the provided syllables, and the other should sing the traditional Happy Birthday” melody underneath the solo. This may also be performed with the aid of piano or guitar accompan ent. 18. Vocal Technique 4 Unit 1= Chapter Take a moment to fill out each note's corresponding scale degree number, if needed. Bx 1.12 Happy Birthday The Improvised Solo of Wynton Marsalis Marciac - August 4, 2007 a c G7 Voice 1 da | da du dn du do de Voice 2 Hap-py birth - day to you! Hap-py du dn du dn du be dube | du du da} da du da du du dn. bith = day cy you! Hap - py dee a du a dn du da} da du da du da da | du da du da dee | da dn da dn da dn da dn binh = day dear Wyn = ton, hap - py du da dee dee du be | du dot da du dot| dee a da du da du da | du da dee a da bith = day cy you! Hap-py Ex 1.12 contd ci binh birth bint you! Vocal Technique 4 dee a dn = day u da du be du dow a 7 dee da du da du da you! du bee | dee a da da dee a da da | da du bee du dee a hap au be du py inh da du a da dee da Hap - py da Happy be dee a da dn |dee a da dn du be du be ear Wyn day unit two Chapter 1: Preparatory Warm-Up cut how to This unit wi g vocal improvisation. Having a frm gra this unit wil intro us on the pentatonic scale. We will examine how it can be applied and properly e p on this scale is a great starting point for learning ice a basic twelve-bar blues form a dur improvise over blues changes, s Before w ratory warm-ups. They should look familiar to you, as they were your first scatting exercises from Unit 1; and they'll now serv up at the commencemen unit from here on out, dive into the pentatonic scale, let’ begin with a few prey 3s a vocal warm: eve Focus on clean diction of each scat syllable. Internalize each note befor precise intonation. Feel each note resonate in all four chambers of your instrument: the chest, throat, mouth, and head nging, and deliver your tone with Bx 2.1 Warm-Up 1 ing the corresponding scale below the chord changes. DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE c7 F DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE F BP Boni DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE F F F DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU 2 6x 2.2 Warm-Up 2 Sing through each chord's triad outline. d=120 F cr DU VEE DU VEE DU F VEE DU VEE DU VEE DU VEE DU VEE DU VEE 7 DU VEE DU VEE DU Pa Bhai VEE DU VEE DU VEE DU VEE DU VEE DU VEE F cr DU VEE DU VEE DU F VEE DU VEE DU VEE DU VEE DU VEE DU Ex 23 Warm-Up 3 Sing through each chord’s seventh chord outline, d=120 Fa? VEE DU VEE DU VEE DU o DU VE DU VEE DU VEE DU VEE cr DU VEE DU VEE DU Fa? VEE DU VEE DU VEE DU VEE DU VEE DU VEE Fr DU VEE DU VEE DU VEE DU VEE Fra? co DU VEE DU VEE DU ber Boni? DU VEE DU VEE DU Fa? VEE DU VEE VEE DU VEE DU VEE DU VEE DU VEE DU Vocal Technique 4 VEE DU VEE DU VEE DU Unit 2- Chapter Ex 24 Warm-Up 4 ‘Sing the arpeggio of each extended chord: root, third ith, seventh, ninth, sharp eleventh, thirteenth, 120 Foals cram) 2 ~ 2 = zi, 7 SHU_ BE DU_ BESHU_ BE DU_ BE SHU_ BE DU_ BE SHU_ BE DU_ BE cv) Fmai31)) = SHU_ BE DU_ BESHU_ BE DU_ BE SHU_ BE DU_ BE SHU_ BE DU_ BE Fis Bhs) Bhmitseent) var" 3 ~ 7 7 - ‘ Z SHU BE DU_ BE SHU_ BE DU_ BE SHU_ BE DU_ BE SHU_ BE DU_ BE Fnareit) cr Final) F 2 ~ 2 a va Sr 7 SHU_ BE DU_ BE SHU_ BE DU_. BE SHU_ BE DU_ BE SHU_ BE DU_ BE DU x 25 Warm-Up 5 Resolve each non-chord tone to its neighboring chord tone. 120 SHU BE DU BE SHU BE DU BE SHU BE DU BE SHU BE DU BE co F SHU BE DU BE SHU BE DU BE SHU BE DU BE SHU BE DU BE 7 & Bhai SHU BE DU BE SHU BE DU BE SHU BE DU BE SHU BE DU BE F cr F sHU BE DUBE SHU SBE. DUBE. Pentatonic Scale To dive deep into the pentatonic scale, lets travel back to our Sight Singing 3 studies. Welll review the ‘material that was presented in that book (Unit 1, Chapter 2, p. 15), and then apply our newfound scatting techniques to some fresh etudes and exercises. The pentatonic scale isa scale consisting of five pitches or pitch classes, and refers to the music made based on this scale. It derives from Western music’ diatonic scale, utilizing pitch classes 1, 2, 3,5 and 6. 26 Major pentatonic scale x27 Minor pentatonic scale 1 b3 4 5 v7 There are many scales of this type, and they are widely prevalent across the entire global stream of music, both in the modern era and historically. It appears in genres as widely varied as American Indian music, Asian folk music, British pop, American folk music, and Irish music. ‘As you can see, the major pentatonic scale does not contain any semitones, and it can be embodied by all of the black keys on the piano. This scale consisting of solely whole-step intervals has a unique and signature sound, and should be familiar to you thus far in your journey as a music listener. You are well versed in all of these tones, but now it is time to apply these scale degrees to their scalar five- note pattern. Sing through each inversion of these notes on the following page, fist in major, and then in minor. At the end of the minor pentatonic warm-up, resolve b7 to the pivot note 5, where note 5 will become the tonic of your new major key. Repeat this modulation up a fifth until all keys are covered. The notes are labeled with their corresponding scale degree, and you may sing through them with the scat syllables of your choice. 24 Vocal Technique 4 Unit 2- Chapter 2 £28 C major: Cmas Dmi7 Emi? oe 12356532 1 23561653 2 35612165 3 Gnas Ami? C minor Cmi7 Ebmnas Fmi7 = 1b3450754b3 1 b345b7 16754 3 4Sb71b31b75 4 Gmie BPs S b7 1 BB 4 BB 1 OT OS br 145 4631 by 5) Now that you are comfortable singing through all inversions of the major and minor pentatonic scale, here are a series of etudes that are derived from a simple pentatonic folk-song melody. Sing through each exercise, following the specified groove, genre, and tempo. Based on your rock solid understanding of the various types of straight and swung eighth and 1éth note grooves that we discussed in Sight Singing 4 (Unit 2, Chapter 2, p.50 and Unit 3, Chapter 2, p. 72), fee the pulse of the imaginary rhythm section underneath you as you sing each piece. Note: Each etude will be performed in a major key, and then will be performed in its relative minor key. These pieces may be performed in chromatically ascending keys until the entire vocal range has been covered You may also take a moment ta label the numbers of each note, if needed. 25 29 Rock groove, straight eighths J=130 c cance c Fog? du du du du dod dt du du du du daa mi mi G7 Cmi mi Fmi G7 du du du dud kak du du du dy dk a Cai cai «G7 & 210 Reggae groove, swung eighths d=120 c coc oc Fo? du we da du we da du we da da du we du we du we da da c ca c & ¢| da du we da da du du we da de Cm Cmi G7 Cai Ci Fi G7 du we da du we da du we da da du we du we du we da da Ca cai G7 Ca & 4) da du we da da du du we da a dd Vocal Techniqu Unit 2- Chapter 2 x20 Jazz, swung eighths J=140 c 6 ae c ba du dn du da du da duwee a da dn du ba du dn dua du da F G7 ic 7 du wee a da da bu da dow la. da du wee a du wee a du da dn ic ic G7sst G7 du wee a da dow dala da dn da da du dow__ Cmi Cm G7Cmi Cmi ba du dn du da du da duwee a da dn du ba du dn du a du da Fmi Gr Cm 7 + 7 du wee a da da bu da dow___ Ia da du wee a du wee a du da dn Cmi Cai G713) mi = du wee a da dow dala da dn da da du dow E212 Funk, straight 16ths 4=130 ba da da ba da da ba da da ba da da ba da da da dn dow tba da da da c F G baba dada da__ ba da da da da da da dow ba da da dada _dwee dec ba da ba da da ba da ba da bu dow ba da da da a a c mi Cmi G7 Cmi ba da da ba da da ba da da ba da da ba da da da dn dow ba da da da Cai Fm or ba ba da da da__ ba da da da da da da dow ba da da Cmi dada dwee dee ba da ba da da ba da ba da bu dow ba da da da Cai ar Cmi Vocal Technique 4 Unit 2- Chapter 3 Chapter 3 Chart Reading: “Rattlesnake Blues” This chart contains @ melody that primarily consists of the pentatonic scale. It pulls from the individual entatonic scales of the |7 - IV7 - V7 chords, and lands on the thirteenth scale several measures throughout. e of each chor Itis to be sung in a medium jazz/blues style, Let that swung triplet force be your guide, and deliver each note and its corresponding rhythm with pinp int accuracy, Sing through the head twice, he provided scat syllables. Then, improvise over the blues chord changes, using the pentatonic scale. Finally, sing the head twice again to end the song, You should be familiar with this type of basic blues form from your Sight Singing 3 studies (Unit 2, Chapter 2, p. 27). Take a moment to fill out the numbers of each note according to their scale degree, if needed 6213 * Rattlesnake Blues Medium swing J= 120 Anthony Viscounte Head (Sing 2x) G7 c7 ba da dn dn da deo ba da dn dn da dee du a 7 —— = 7 — dwe da du dwe da du dwe da da dow du dn dow ba c Chmin7(b5) da dn dn da dec ba = da_dn. dn da. dee dwe a da du dow. ar pb? 7 7 we da du dwe da du dwe da da dow du dn dow ba dee a da dee a da dee a da dee a da cr a a Db? 0 7 7 du dow du____dwe da du dwe da du dwe da da dow du dn dow (ba) Solos: Gr c7 G7 c Chmin705) G7 Vocal Technique 4 unit three - Chapter 1: Preparatory Warm-Up fe will learn about the basic structure fer the chan gain a total understanding of rhythm changes. jonship between its chords and unit will help us ie form, the rel 1m strategies for improvising m-ups, This unit will introduce a new warm-up containing the First, let's begin with our preparatory nging of all the inversions of the major and minor pentatonic scales. x 3.1 Warm-Up 1 Sing the corresponding seale below the chord changes. 120 DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE c7 F DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE F? BP Bi DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE F F F DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU x 3.2 Warm-Up 2 Sing through each chords triad outline d=120 DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE cr F DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE Ff ca Bhai DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE F cr F DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU Ex 3.3 Warm-Up 3 Sing through each chord’s seventh chord outline. d=120 Fra? o DU VE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE cr Fa? DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE _ pb Bonit DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE Fi? co Fu? DU VEE DU VEE DU VEE DU VEE DU VEE DU VEE DU 32. Vocal Technique 4 Unit 3- Chapter 6x34 Warm-Up 4 Sing the arpeggio of each extended chord: root, third, fifth, seventh, ninth, sharp eleventh, thirteenth d=120 Fal) cisen) _ f ~ 2 - aS 7 SHU_ BE DU_ BESHU_ BE DU_ BE SHU_ BE DU_ BE SHU_ BE DU_ BE cue 7 Fnai3e10) 2 ~ 2 = SHU BE DU_ BESHU_ BE DU_ BE SHU_ BE DU_ BE SHU_ BE DU_ BE Fis Bhatt) Bhwit3ee11) ‘ =~ var 3 ~ z 7 ‘> - 7 SHU BE DU_ BE SHU_ BE DU_ BE SHU_ BE DU_ BESHU_ BE DU_ BE Fmaree1t) cr Foal4@t) F 2 ~ 2 > ~ 7 SHU_ BE DU_ BE SHU_ BE DU_ BE SHU_ BE DU_ BE SHU_ BE DU_ BE DU £35 Warm-Up 5 Resolve each non-chord J=120 ne to its neighboring chord tone. F o SHU BE DU BE SHU BE DU BE SHU BE DU BE SHU BE DU BE SHU BE DU BE SHU BE DU BE SHU BE DU BE SHU BE DU BE 7 ca Bhai SHU BE DU BE SHU BE DU BE SHU BE DU BE SHU BE DU BE F cr F sHU BE DUBE SHU BE DUCStsCiRESSCéi 33 34 Ex 3.6 Warm-Up 6 Sing through each inversion of the pentatonic scales, first in major, and then minor, At the end of the minor exercise, the fifth scale degree is to be treated as a pivot note and will become the first note of the new tonic chord. Repeat this exercise using this same circle of fifths pattern until every key has been covered. d=120 C major Cas Dm? Eni oe 12356532 1 23561653 2 35612165 3 Gnas Ami? C minor: Cmi7 Ebma6 Fmi7 oe 1b3450754b3 1 b34507 16754 b3 4Sb71b31b75 4 Gmie Boo 5 b7 1 b3 4 BB 1 by OS by 1b 4 5 463 1 BT MI) Vocal Technique 4 Unit 3- Chapter 2 hapter 2 Rhythm Changes The term rhythm changes derives from the jazz chord progressions/harmony found in George Gershwi composition I Got Rhythm is one of the most prevalent compositional and improvisational tools in the Great American Songbook jazz standards of the 20th century. It follows an AABA song structure, with -v: ii-V7 serving as the backbone of the A sections, and a series of circle of fifths movement in the bridge @ section) One of the first documented pieces of music containing rhythm changes comes from Sidney Bechet’s 1932 recording of the song’Shag' with his New Orleans Feetwarmers group. Count! ons containing these same rhythm changes were then born, including * "Anthropology’ (Charlie Parker/Dizzy Gillespie) + ‘Lester Leaps in’ (Lester Young) + "Meet the Flintstones’ (Hoyt Curtin © ‘Dexterity’ (Charlie Parker) © ‘Cotton Tail" (Duke Ellington) = *Oleo" Sonny Roll ‘+ "Steeplechase" (Charlie Parker) + "Straighten Up and Fly Right’ (Nat King Cole) * “Tip Toe’ (Thad Jones) * "Rhythm-A-Ning’ (Thelonious Monk) se the Mooch (Charlie Parker) a 32-bar AABA structure. Let's take a look at the original Roman numeral analysis of the 1 vi ii-V L- vi ii-V “17 IV - iv7 l ii-V The next A section follows a similar pattern, but ends up resolving to the tonic chord for its entire eighth measure: 38 1 vi ii-V ii-V “17 IV - iv7 As stated before, the bridge contains a series of circle of fiths, beginning with the lll chord. These chords are allty {and they are designed to resolve perfectly to the V7 chord at the end of its eight-bar phrase. Each chord is played for two measures 39 ppically dominant seventh chord M7 + vI7 + 7 iF v7 - 35 The last eight measures of the form comprise of nearly identical chord changes to the second A section. In this final A section, the last measure contains its resolution to the tonic chord, and an optional V7 chord may be played as a turnaround to bring the performer to the top of the form: 37 1- vi ii-V I-vi ii-V -I7 IV - iv7 I-Vv 1- (v7) Rhythm changes are frequently performed in the key of 8b. Seasoned rhythm section performers will often take the liberty to insert various chord substitutions. Take a look at the following example containing these substitutions, and take a moment to conduct a Roman numeral analysis of these changes: E311 Rhythm changes Bou? G7 coir 7 Bhar G7 cnn oF? Fait Bh Bhar Dai? G7 cm FT a cat FT Bu? G7 cm FT Fait Bh Bhat ADT car FT Bhna? ar cairo? bua? G7 cm FT Fmiz Br Bhat ADT cat FT Bhma? 36 Vocal Technique 4 Unit 3- Chapter 2 The first step to approaching an improvised solo over these changes sto attain a frm understanding of the root motion of each chord, Thus, let's begin by thinking like a bassist and sing through each root. Ex 3.12 Root motion BomaT G7 Cmi7 FT Bbma? G7 Cmi7 FT Fmi7 Br Ebma7 AYT Dmi7 G7 Cmi7 FT Byma? G7 Cmi7 Fv BPma7 G7 Cmi7 F7 Fmi7 BT Ebma7 Ab7 Cmi7 FT Bema7 Bena? G7 Cmi7 Fy BPma7 a Cmi7 FT Fmi7 Bor Ema? aor Cmi7 FT Bbma7 37 38 Vocal Techniqu Now, perform this same exercise by singing the third and seventh scale degree of each chord. You may harmonize with a partner. Notice the smooth voice leading, and let this mindset marinate in your musical cooking dish. Remember: These scale degrees are the crucial guide tones that should be used as anchor points every time you approach an improvised solo over any chord changes. Ex 3.13 Bim? = GT Cmi7 FT Bim? G7 Cmi7 FT Fmi7 Ber B>ma7 ar Dmi7 ar Ci? Fy Bima? ar mit Fy Bema? G7 Coit Fy Fit Bb bm? ADT mir FT Bena? Bbma7 Gr mit FT Bhna? a Cmi7 Fy Fmi7 BP Ebma7 abr Cit Fy Bima? Unit 3- Chapter 2 Finally, pulling from our Unit 2 studies, ets take a look at each chora'’s corresponding pentatonic scale; however, we'll omit the sixth scale degree and perform four note phrases of 1-2-3-5. Ex 3.14 Bho? G7 cmt FT a cm? FT = —— = = ea ee + oe ———— ===;

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