Shaping the Sound: Attaining Authenticity in your Jazz Vocal Ensemble

Shaping the Sound: Attaining Authenticity in your Jazz Vocal Ensemble Why doesn’t my choir sound like other groups? You love the Jazz and contemporary sound, however, find it challenging to articulate swing, improvisation, and the blues, as well as obtain that “authentic” commercial sound in a healthy and productive manner. In Vijay Singh’s article “Advocacy for Jazz Pedagogy” (Choir Journal, September 2006) he states that many educators still believe that “‘jazz is caught, not taught’ and a primary source of inspiration comes from the educator’s own experiences studying, performing, and emulating jazz concepts.” Many programs want to incorporate a pop or jazz choir but have little jazz pedagogy or performing experience. The goal of this session is to provide directors with basic concepts for achieving the desired sound in their vocal jazz or contemporary ensemble. We will discuss the similarities and differences between traditional chamber choirs and Vocal Jazz ensembles and will examine pedagogical approaches (adjustments) to achieving an authentic contemporary sound with your ensemble. Through demonstrations of ballad and swing repertoire we will discuss tonal production, vibrato, blend, intonation, vowel unification, consonants, scat syllables, rhythmic conception, and lyrical delivery. Session participants will learn first-hand how to implement stylistic adjustments with their ensemble to create an authentic sound that honors the Jazz and contemporary tradition. The demonstration ensemble will be members of the Mason Jazz Vocal Ensemble from George Mason University, performing on individual microphones. The potential audience is middle school, high school, collegiate, or community choir directors engaging in contemporary or vocal jazz literature. The voice focus is SATB, however these concepts may be used in any voice configuration.