Jazz - Singing

Goal:

It is a basic task to describe the anatomical structure of the apparatus involved in vocal training, to raise awareness of the physiology of vocal formation, to develop hearing and music memory, and to acquire the right, purposeful exercise (self-awareness, self-discipline).
It is important to know the different styles of jazz, the use of style notes, the jazz story and the presentation of the singers of today’s great singers. Formulate the attitude of the performer and the artistic presentation.

Task

1. right breathing;
2. Proper sound, intonation, articulation, resonance;
3. Stylish phrase (tempo, rhythm, melody, text formatting);
4. the correct pronunciation.

Particular attention

  1. to create a repertoire of different styles, (swing, bossa nova, odd, blues, etc.) jazz standards;
  2. singing simple theme variations (so-called extra singing)

With skill-improving improvisation exercises, music development

  1. triad and singing their translations;
  2. to sing the fourth chords (m7, moll major, D7, major major, m7b5);
  3. Diatonic improvisation for simple harmony revolutions (eg II-V-I, I-VI-II-V-I);
  4. improvisation for a blues scheme;
  5. to sing transcripts with the recording

1-2. year

Development of vocal training and vocal technique

  1. Automation of so-called aperture respiration.
  2. Conscious use of sound training and resonance.
  3. Conscious use of pitch, volume and tone.
  4. Respiratory, phonation, articulation and resonance exercises.
  5. Intonation Practices.
  6. Relief of skeletal muscle tension, dissolution of whole posture.
  7. Choice of pieces of sound, sound and technical preparation.

Developing improvisational skills

  1. Melody and rhythmic exercises.
  2. Stylish theme singing with theme variance.
  3. Singing the triads and their translations, four chords (m7, moll major, D7, major major, m7b5) (from base to top, then from chordary to chromatic scale, then at different voices), melodies.
  4. Singing the learned harmony into II-V-I or other simple cadence, first in a tone and then modulating it in other ways.
  5. Beyond the singing of the harmony, there is free improvisation for certain cadences.
  6. transcription.

Recommended Program

  1. Kerényi Miklós György: Az éneklés művészete és pedagógiája
  2. Kerényi Miklós György – Kerényiné Kéri Margit: Énekiskola I.– II.
  3. Jazz Fake Book
  4. New Real Book – Volume I.
  5. New Real Book – Volume II.
  6. New Real Book – Volume III.
  7. Michelle Weir: Jazz Singers Handbook
  8. Michelle Weir: Vocal Improvisation
  9. Paris Rutherford: The Vocal Jazz Ensemble
  10. Denis DiBlasio: Guide for Jazz and Scat Vocalists
  11. Jamey Aebersold: Jazz Ear Training

Requirements

  1. Good breathing, posture, vocal function, resonance
  2. Pure intonation
  3. Understanding and correct pronunciation of the performing pieces
  4. Jazzy phrasing, stylish theme singing
  5. Theme Variations
  6. Singing of triads, fourth chords, pentatonic scales, melodies
  7. Improvisation on II–V–I
  8. Simple transcripts

Recommended program to the end of year exam

  1. Three jazz-standard performances of different tempo (odd, ballad, latin, strings, etc.) theme – extra-theme, from memory.
  2. Presentation of transcript (with sheet).
  3. Improvisation on II – V – I .

3.-4. year

Development of vocal training and vocal technique

  1. Breathing, phonation, articulation and resonance exercises.
  2. Intonation Practices.
  3. Selection of choices for sound and technical preparation.
  4. Stressing the skeletal muscle, dissolving the whole posture
  5. Selection of items for sound, sound and technical preparation.

Developing improvisational skills

  1. Melody and rhythmic exercises.
  2. Stylish theme singing with theme variance.
  3. Singing the harmony, the pentatonic, the modal
  4. Learned exercises that have already been written II-V-I.
  5. Transcriptions

Recommended Program:

  1. Kerényi Miklós György: Az éneklés művészete és pedagógiája
  2. Kerényi Miklós György – Kerényiné Kéri Margit: Énekiskola I.– II.
  3. Jazz Fake Book
  4. Michelle Weir: Jazz Singers Handbook
  5. Michelle Weir: Vocal Improvisation
  6. Paris Rutherford: The Vocal Jazz Ensemble
  7. Denis DiBlasio: Guide for Jazz and Scat Vocalists
  8. Jamey Aebersold: Jazz Ear Training
  9. Jay Clayton: Jazz Vocal Practice Series Vol. I., Vol. II.
  10. Kirby Shaw: Vocal Jazz Style
  11. Chet Baker: Greatest Scat Solos
  12. Bob Stoloff: Scat! Vocal Improvisation
  13. Jim Snidero: Jazz Conception for Scat Vocals
  14. Steve Zegree: The Complete Guide To Teaching Vocal Jazz
  15. Charlie Parker: Omnibook

Requirements

  1. Good breathing, posture, vocal function, resonance
  2. Pure intonation
  3. Understanding and correct pronunciation of the performing pieces
  4. Jazzy phrasing, stylish theme singing
  5. Theme Variations
  6. Singing of triads, fourth chords, pentatonic scales, melodies
  7. Improvisation on II–V–I
  8. Simple transcripts

Recommended program to the end of year exam

  1. Three jazz-standard performances of different tempo (odd, ballad, latin, strings, etc.) – extra-theme, from memory.
  2. Presentation of transcript (with sheet).
  3. Improvisation on the given harmony circle

5-6. year

Development of vocal training and vocal technique

  1. Breathing, phonation, articulation and resonance exercises.
  2. Intonation Practices.
  3. Selection of choices for sound and technical preparation.

Developing improvisational skills

  1. Melody and rhythmic exercises.
  2. Stylish theme singing with theme variance.
  3. Singing the harmony, the pentatonic and practising
  4. To deepen the functions and to know what scale you can sing for the learned harmony.
  5. Singing Scales for II-V-I and other simple cadences
  6. Diatonic scale exercises: Singing the triads based on the sound of a given scale (first from basic, then from third, fifth, seventh).
  7. Singing of simpler, then more complicated (modulating) harmonic standard
  8. Horizontal elaboration of a given standard and singing with the learned scales.
  9. Improvisation on the harmony of the learned themes
  10. Transcriptions

Recommended Program:

  1. Kerényi Miklós György: Az éneklés művészete és pedagógiája
  2. Kerényi Miklós György – Kerényiné Kéri Margit: Énekiskola I.– II.
  3. Jazz Fake Book
  4. Michelle Weir: Vocal Improvisation
  5. Paris Rutherford: The Vocal Jazz Ensemble
  6. Denis DiBlasio: Guide for Jazz and Scat Vocalists
  7. Jamey Aebersold: Jazz Ear Training
  8. Jay Clayton: Jazz Vocal Practice Series Vol. I., Vol. II.
  9. Kirby Shaw: Vocal Jazz Style
  10. Chet Baker: Greatest Scat Solos
  11. Bob Stoloff: Scat! Vocal Improvisation
  12. Jim Snidero: Jazz Conception for Scat Vocals
  13. Steve Zegree: The Complete Guide To Teaching Vocal Jazz
  14. Charlie Parker: Omnibook

Requirements

  1. Good breathing, posture, vocal function, resonance
  2. Pure intonation
  3. Understanding and correct pronunciation of the performing pieces
  4. Jazzy phrasing, stylish theme singing
  5. Theme Variations
  6. Singing harmonys, pentatones, modal scales, melodies
  7. Theme Variations
  8. Improvisation on the harmony of the learned themes
  9. Transcriptions

7-8. year

Development of vocal training and vocal technique

  1. Breathing, phonation, articulation and resonance exercises.
  2. Intonation Practices.
  3. Selection of choices for sound and technical preparation.

Developing improvisational skills

  1. Melody and rhythmic exercises.
  2. Stylish theme singing with theme variance.
  3. Singing the harmony, the pentatonic, the modal, the harmonious and the melodic minor’s modus, the singing of the fourth chords what is based on scales
  4. Singing the harmonies of the blues scale and the blues circle and practicing them for a blues circle (eg with the teacher).
  5. Transcriptions
  6. Improvisation on the harmony of the learned themes and the blues circle.

Recommended Program:

  1. Kerényi Miklós György: Az éneklés művészete és pedagógiája
  2. Kerényi Miklós György – Kerényiné Kéri Margit: Énekiskola I.– II.
  3. Jazz Fake Book
  4. Michelle Weir: Vocal Improvisation
  5. Paris Rutherford: The Vocal Jazz Ensemble
  6. Denis DiBlasio: Guide for Jazz and Scat Vocalists
  7. Jamey Aebersold: Jazz Ear Training
  8. Jay Clayton: Jazz Vocal Practice Series Vol. I., Vol. II.
  9. Kirby Shaw: Vocal Jazz Style
  10. Chet Baker: Greatest Scat Solos
  11. Bob Stoloff: Scat! Vocal Improvisation
  12. Jim Snidero: Jazz Conception for Scat Vocals
  13. Steve Zegree: The Complete Guide To Teaching Vocal Jazz
  14. Charlie Parker: Omnibook

Requirements

  1. Good breathing, posture, vocal function, resonance
  2. Pure intonation
  3. Understanding and correct pronunciation of the performing pieces
  4. Jazzy phrasing, stylish theme singing
  5. Theme Variations
  6. Singing harmonys, pentatones, modal scales, melodies
  7. Improvisation for a blues circle
  8. On the learned themes’ harmony circles scat–improvisation
  9. Transcriptions

Recommended program to the end of year exam

  1. Three different tempos jazz-standard (ballads, latin,swing ,) theme – extra-scat – theme procession from memory.
  2. Presentation of transcript (with sheet).
  3. Improvisation for a blues circle (blues can be one of three songs).