Page 54 - CJSeptember25

Pedagogy for the Jazz Singer

by Diana Spradling and Justin Binek

Culture, education, values, and taste all play a role • The ensemble is considered a group of solo singers
in the popular music to which we choose to listen and who do not use traditional rules of choral singing but
perform both individually and collectively. To add to rather blend their “solo” voices to create a variety of
the complexity of our choices and our preferences, colors/ timbres in the music (e.g., the New York Voices)
each new generation tends toward adjustments and or a group of singers with a match-to-sample tone (e.g.,
changes—be they small or large in scope—in value the Singers Unlimited or The Real Group).
systems, language, and definitions. These determinates
shape our perspective as they relate to how jazz music • The definition of appropriate intonation becomes
fits into choral/vocal music education. As we look for a definition of intonations (plural) to allow space for
sound operational definitions as tools for the teaching pitch bending, jazz inflections, and jazz articulations.
of jazz music and with which our greater choral com-
munity can work, it is imperative to describe what has • Phrasing is more often than not two to four measures
happened and is happening historically, musically, and rather than the traditional four to eight measures found
vocally in this genre. in more “formal” choral music.

• Breath-to-tone ratios change depending on the style
Musical, Vocal, and Style Requirements of the music. For example, Bossa Novas and Sambas
Specific to Jazz Group Singing have more breath in the tone than, say, Bebop tunes
Although the vocal jazz group usually exists under and intimate ballads.
the auspices of the choral music teacher, except in cer-
tain universities where it exists under the auspices of the • Legato and vibrato are options and not constants in
jazz studies degree program, it really is not choral mu- the interpretation of jazz styles.
sic as we in the American Choral Directors Association
define choral music traditionally or historically. Why? • Resonance in the tone varies depending on style and
is directly affected by the use of the microphone. The
• Authentic vocal jazz singing usually calls for a close- resonating chambers (the vocal tract) are not as open as
up, one-on-a-microphone configuration and does not they need to be for acoustic singing.
depend on natural/ acoustic voice projection.
• The minimum accompaniment for authentic vocal
• Diction requirements in vocal jazz are based on ver- jazz singing is generally accepted as being the jazz
nacular, not formal, speech patterns. trio—acoustic piano, acoustic bass, and drums with oc-
casional use of electric keyboard and bass depending
• The voice ranges and tessituras of jazz music are gen- on the style of the tune being performed and/ or in-
erally written in keys that emphasize women’s middle structions given by the composer/arranger of a chart.
and low registers.
Editor’s Note: Here, the full article includes sections titled “Or-
• Dynamic ranges generally fall between mezzo pia- ganization Structure and Signature Sounds of Jazz Singing
no and mezzo forte, and rarely do jazz singers use ex- Groups,” “A Developing Pedagogy,” and “Spectrography Defines
tremely soft dynamic levels, which do not amplify well; Behaviors of the Jazz Voice.”
or extremely loud dynamic levels, which cause sound
distortion.

52 CHORAL JOURNAL September 2025 Volume 66 Number 2