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Jazz phrasing
The techniques used by jazz singers down the ages are useful not only
for today's jazz interpreters, but also give an edge to all styles of
contemporary singing, including music theatre. This is because of the
creativity and sensitivity to the lyrics that is involved. The need for
difference of interpretation of the same standards has led to quite
subtle distinctions being made in the way a written musical phrase is
performed. The one singer may play with the possibilities implied by
the lyrics at different times over their career, and produce quite
varied versons of the same phrase/song.
Though Jazz phrasing is a broad topic in terms of Jazz repertoire, here are 4 techniques non Jazz singers may care to borrow:-
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Jazz phrasing II
Improvisation
Again, this is a very large topic, but here are a few exercises which can help a singer start to improvise, primarily in a jazz style, but which ultimately will lead to interesting and varied phrasing in any contemporary style.
Sing slowly up and down the scale, about two notes per beat, over a chord progression. The progression can be provided by any recording, by a jazz instrumental would be easiest. Use the whole range of the voice, and experiment with grouping the notes of the scale into repetitive patterns as your confidence increases.
Again using a chord progression as accompaniment, pick out one note of the chord and sing it through the bar, moving as little as possible in subsequent bars, as though creating a sustained filler sound like a synthesiser. On one chord you may be singing the tonic, on the next you may be holding the 5th or the 7th. You will see that the voice doesn't have to move far to find one of the four notes contained in most chords - ususally only about a tone in either direction.
The concept of grace notes refers to the addition of an extra note to the melody at a point where it could do with some ornamentation, such as on a long note, by going one step up or one step down of the standard melody. This can be added in varying rhythmic durations and accents, and it helps to individualise an interpretation. The time taken to sing the grace note will generally be taken off the duration of the longer note following the grace note.
Melismas are short runs like the sort Mariah Carey adds to everything she sings. They come from the major or minor scale on which the whole melody is based. While easily overdone, selective use can add momentum and intense earnestness to the song.
Turns are another form of melisma, consisting of the expected melody note, the note above, then the original note again, then the note below, and finishing back on the original note. Just for variety.
Though Jazz phrasing is a broad topic in terms of Jazz repertoire, here are 4 techniques non Jazz singers may care to borrow:-
| 1 | Singing behind or ahead of the beat. The former will give a laid back, 'cool', casual feel to the song - almost dreamy. The latter will make the song seem more up tempo than it actually is. It's also a good way to prod along an inept accompanist at an audition. There are of course degrees of use for this technique, and if you take either too far, you will sound as though you are singing out of time. |
| 2 | Floating the phrase. Similar to the classical concept of rubato, except only the singer is doing it (not the band). This involves viewing a phrase as a unit that must start and end as expected in terms of its place in the tune, but during which there is some elasticity for the melody notes to expand or contract, as the singer responds vocally to the mood the music has created in their mind. |
| 3 | Accentuation of a note or word. This can be done through an unexpected change in the volume level, or tonal intensity, or changing the length of a particular note or word. By 'unexpected' I of course mean tastefully and stylistically modify. |
| 4 | Changing rhythms. More for the experienced self confident performer, who knows the standard way a song is written and performed. Instrumentalists are the example to follow for ideas. The mind needs to be trained to the point where it can run 2 conflicting rhythms (cross rhythms) concurrently. eg 3 against 4; 2 against 3; swung against straight. |
Back to CONTENTS
Jazz phrasing II
Improvisation
Again, this is a very large topic, but here are a few exercises which can help a singer start to improvise, primarily in a jazz style, but which ultimately will lead to interesting and varied phrasing in any contemporary style.
Sing slowly up and down the scale, about two notes per beat, over a chord progression. The progression can be provided by any recording, by a jazz instrumental would be easiest. Use the whole range of the voice, and experiment with grouping the notes of the scale into repetitive patterns as your confidence increases.
Again using a chord progression as accompaniment, pick out one note of the chord and sing it through the bar, moving as little as possible in subsequent bars, as though creating a sustained filler sound like a synthesiser. On one chord you may be singing the tonic, on the next you may be holding the 5th or the 7th. You will see that the voice doesn't have to move far to find one of the four notes contained in most chords - ususally only about a tone in either direction.
The concept of grace notes refers to the addition of an extra note to the melody at a point where it could do with some ornamentation, such as on a long note, by going one step up or one step down of the standard melody. This can be added in varying rhythmic durations and accents, and it helps to individualise an interpretation. The time taken to sing the grace note will generally be taken off the duration of the longer note following the grace note.
Melismas are short runs like the sort Mariah Carey adds to everything she sings. They come from the major or minor scale on which the whole melody is based. While easily overdone, selective use can add momentum and intense earnestness to the song.
Turns are another form of melisma, consisting of the expected melody note, the note above, then the original note again, then the note below, and finishing back on the original note. Just for variety.