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Improvisation how to sing in different styles. Listening is the most im-
I mostly teach beginning- to intermediate-level im- portant aspect to teaching this genre, and if you strug-
provisation to my students. I make them do a lot of lis- gle with teaching a certain concept (like swing feel, for
tening… That comes first! To practice improvisation as example), find a recording of what you want to teach
a group, we do an all-scat: they all go to a different part and play it for your students. Not only play it, but make
of the room and practice scatting over whatever mu- your students have a discussion about it so they can
sic I give them (this also helps with beginners’ comfort learn from one another. Jazz is a genre that has to be
level). I usually have them scat over music we are al- primarily learned from listening. Exposing students to
ready learning as an ensemble. I personally enjoy hav- the wide variety of jazz and contemporary styles is one
ing them scat over the blues the most because that’s an of the most important things we need to do. Table 1
easier adjustment since that “sound” is already in their on the following pages contains suggestions for vocal
ears (based on the popular music they listen to regularly jazz repertoire suitable for high school and collegiate
outside of class). Lastly, I discuss concepts such as: scat- ensembles.
ting using the head as the foundation, syllable usage, Who are the essential ensembles and artists that di-
guide tones, macro and microform/contour, spacing, rectors/students should listen to? Here are my favor-
and using long tones to help create a lyrical melodic ites/the most influential for me, but there are so many
line. not on this list. For ensembles: Take 6, New York Voic-
es, The Real Group, Lambert, Hendricks and Ross,
and The Singers Unlimited. For soloists: Mel Torme,
Sound Systems Ella Fitzgerald, Sarah Vaughn, Joe Williams, and Chet

My ideal sound system includes using nine powered Baker. I’m also a huge fan of artists that crossover into
speakers (I highly recommend QSC K10s or 12s for popular music like Earth, Wind, and Fire, Steve Won-
both monitors and mains), digital mixer, and digital der, Michael Jackson, Prince, Robert Glasper, Jon Ba-
snake. For microphones, I personally like the Senn- tiste, Moonchild, and the list goes on and on! I don’t
heiser e935 mic because of the clarity of tone. For a have essential pieces; it’s important for me to teach
cappella bass and vocal percussion EQ, I would prefer as many styles as possible. I recommend you do what
a different mic like the classic Shure SM58 (the Senn- you’re most comfortable with and teach what you want
heiser e935 don’t seem to have the same clarity with your students to get out of the course.
low EQ and distortion). For wireless mics, I use a Shure
ULX-D Wireless System and love the depth and clarity
it provides! In general, the goal is to have a clear, nat- Conclusion
ural sound for each singer in the group. To tune this The purpose of this article is to provide a foundation
complex harmonic content, the clarity of each voice on both how to start and develop a vocal jazz ensem-
is critical. Using EQ and compression to obtain this ble. Some of my methods might seem unique, but these
sound is essential. concepts work for me, and they might help other direc-
We rehearse on sound for most rehearsals. Rehears- tors as well. If you want to contact me for more insight
ing on sound for new students can be cumbersome at about the subject, I would be pleased to hear from you.
first, but they will get used to it. To create the organic jstafford@kckcc.edu
musical performance I want them to have, they need to
be exceptionally comfortable with the mic, and this can
only be achieved by rehearsing on mics regularly. NOTES
1 Tyler Thomas, “The Emergence of All-State Vocal Jazz En-
Repertoire sembles in the United States from 1978-2022” (DMA

Listening is everything, and I regularly incorporate diss., University of North Texas, 2022), 1. https://
it into my rehearsals, especially when teaching students digital.library.unt.edu/ark:/67531/metadc1987176/

CHORAL JOURNAL September 2025 Volume 66 Number 2 47