Page 56 - CJSeptember25

Pedagogy for the Jazz Singer

main flat or too low in the mouth, because the sound especially the unaccompanied ones, and the shortest
will lack vibrancy and create too much space in the res- phrases are used for dramatic emphasis in the telling
onating chambers. Because a less open jaw is needed for of a story. For example: listen to Frank Sinatra, who is
microphone singing, engaging the tongue plays a major a master of text phrasing. A helpful way to prepare a
role in creating an interesting, free, and clear jazz tone. score for rehearsal is to listen to several solo and group
Keep in mind that the tongue moves in sections. We artists phrase a tune. Sing along, match the phrasing,
can activate the tip, the blade, the back, and the sides and make choices. In this music, the text is the major
separately as we speak and sing. The tongue will not get determinate of how the tune is to be interpreted. Refer
in the way if we remember to put space between the to the concept stated at the beginning of this article that
back teeth (refer to #2); as goes the tongue, so goes the jazz group music is not exactly like traditional choral
timbre. music. The area of legato phrasing is a major factor that
separates a “choral sound” from a “jazz sound.” The
4) The use of vernacular/ conversational diction lengthier the phrasing in any jazz tune, the less it will
The appropriate use of diction in jazz music falls un- swing! The editing of arrangements and original vocal
der the category of vernacular/informal/conversation- jazz charts by publishing companies rarely suggests a
al pronunciation. When one uses a “formal” palette of “freedom to phrase.” Because the charts look like more
pronunciation in this genre, the delivery of text sounds formal choral music (octavos) on the page, we don’t
stilted, stiff, or, as some would say, affected. The exam- necessarily think about taking liberties with the printed
ple that comes immediately to mind is the song “When score. You are encouraged to think outside the box and
1
I Fall in Love.” In a formal group/ensemble setting, adapt charts to reflect your own ideas of interpretation
we would sing the word “when” using the vowel “eh” as within the bounds of authenticity and of course without
in the word “bet.” In a jazz setting, however, we would completely rearranging the arrangement!
sing “win.” Vowel substitutions are common in inter-
preting the text. The stressed schwa vowel “uh” is also Editor’s Note: The full article continues with tools 6-11 and sec-
commonly used. Again thinking of the title “When I tions titled “Vocal Percussion and Vocal Bass” and “The Future
Fall in Love,” in a formal setting the word “love” would of Vocal Jazz Ensembles.” To read or download the full article,
contain an “ah” as the vowel, but in jazz singing the visit acda.org/choraljournal, log into your membership account,
stressed schwa vowel “uh” would be substituted. How and choose the June/July 2015 issue from the archives.
do we know when, where, and how to make adjust-
ments? Simply speak the texts as you would say them Diana Spradling is the founding director of the
in casual conversation and you will have the answers. Applied Studio Technology Laboratory at Western
Recordings are, again, also very helpful. Many final Michigan University and a past ACDA National R&R
consonants are imploded at the ends of words to make Chair for Jazz and Show Choirs.
the delivery of the text more microphone compatible.
Imploded means the tongue is stopped at the roof of Justin Binek is the associate professor of music (theory
the mouth and never released/exploded with a breath and improvisation) at Kansas City Community College
as the tongue moves back into the floor of the mouth. and a finalist in the 2025 American Prize in Composition
Exploded consonants create an extra puff of air that for his jazz-inspired mass, Missa Lucis.
registers as a “pop” through the amplification system.
NOTES
5) Legato as a choice and not a constant
Legato is a means of “text phrasing” in all styles of 1. Nat King Cole, When I Fall In Love, Love Is the Thing (1957,
music, but according to spectrographic analysis it usual- Capitol Records).
ly only connects three to six syllables (occasionally a few 2. Diana R. Spradling, Jazz Singing: Developing Artistry and Au-
more) of the text at a time when interpreting many jazz thenticity (Sound Music Publications, 2007).
texts. The longest phrases, of course, are in ballads,
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54 CHORAL JOURNAL September 2025 Volume 66 Number 2