Page 45 - CJSeptember25

toire & R
Reper
Repertoire & Resources
esources

Vocal Jazz

John Stafford II their broader choral colleagues, who already may be
National Chair, Vocal Jazz one of the only music teachers in their school or dis-
jstafford@kckcc.edu trict.
For the purposes of this article, a vocal jazz ensem-
ble is defined as a small vocal ensemble with four to
sixteen singers that perform both arrangements of
Strategies for the Vocal Jazz Ensemble
repertoire from the American Songbook and arrange-
ments that are derived from contemporary/commer-
by John Stafford II
cial music within the last fifty years. The ensemble ei-
ther performs with a rhythm section (piano, bass, and
This article provides an overview on how to develop drums) or a cappella. Regardless of whether or not the
the vocal jazz ensemble and offers strategies for begin- ensemble uses a rhythm section, the harmonic setting
ning- to intermediate-level vocal jazz directors. After of the arrangements are based on the traditional 3/7
sharing my personal philosophy, we will discuss the harmonic voicing used in American jazz music.
following aspects: audition process, rehearsal prepara-
tion, warm-ups, vocal technique, improvisation, sound
systems, and literature ideas. I hope this article will Personal Philosophy
serve as encouragement for directors who are wanting The most important thing to do when starting an
to develop or enhance their vocal jazz ensembles. ensemble, in my opinion, is developing a philosophy
Nationally, “while all fifty states host one or more about what you want it to be and setting goals to make
traditional statewide honor choirs, only twenty-four the philosophy into reality. My general philosophy is
states either currently host or once hosted one or more based on concepts that I have developed as a vocal jazz
statewide honors vocal jazz ensembles.” While this ensemble director of high school and collegiate ensem-
1
article’s topic is not specific to honors ensembles, this bles for the past twenty years.
statistic highlights the discrepancy between choral en-
sembles as a whole and those directors who work with 1) Teaching style contrast. It is important for my students
a vocal jazz ensemble. It is very easy for directors who to understand the differences in musical styles. When
teach this genre to feel isolated—even moreso than I program music for the next academic year, I’m not

CHORAL JOURNAL September 2025 Volume 66 Number 2 43