bob stoloff - blues scatitudes
TRANSCRIPT
Vocal l ....,rovisalions on Ih~ Blues
Bob Stoloff
Cover dc:-.ign by Bill Lc:-.s,ner and Erin Klauk
Cnpyrighl © 2003 hy Boh Sioloif
All right. ... reserved. Nu part of Ihi ... buok Illay bt: reproduced or tran:-.mittcd in any form or by any IllcaJl:-. . eke-Ironic or mechani caL including photocopying. recording. or by any informalion ~torage and relric va l"'y' tcrn. without written perllli!--.inn from the publi,her.
GerLtI'd and SarLin Publishing Co. 146 Bergen Street I3rooklYIl, N.Y. 11 217
Printed un acid-frt:e paper in the Un ited Siaies of America. ISBN I -Y300XO-O I -X
Table of Contents Introduction
Musical Terms
Chapter 1: Scat Syllables Syllable Articulation Excerc ises
Chapter 2: Using Accents in 8th, Triplet and 16th Figures Eighth and Triplet Figures with Accents
16th Note Figures with Accents and Ties
Chapter 3: Major and Pentatonic Scales Major and Pentatonic Scales
16-Bar Pentatonic Exercises
Chapter 4: The Blues Scale Blues Scale Exercises
12-Bar Blues Exercises
Chapter 5: Eight Blues Scatitudes Blues for the Bean
B lues for Bootz
Blues for Mr. Hardy
Lord Paddington Blues
Columbo Blues
Blues fo r Kramer
Blues fo r Mr. Mason
Bl ues fo r Mon Ami
What's on the CD
4
7
8
9
15
16
19
26
27
31
33
34
35
39
41
45
49
53
57
6 1
66
7 1
75
Introduction
Thank you for adding Bilies Scalil ildes to your
music co ll ec tion' In case you're wondering, the
title was playfully created to represent a fusion of
two important musicianship skills presented in this
book: vocal improvisation (scat) and time feel
interpretation (att itude). All serious musicians who
are pursuing a career in voice should consider both
ski ll s essential to their training as performers. If
you wa nt to learn to improvise using your vo ice,
Bilies SCQrifl/des will demonstrate what notes and
sy ll ab les to use and how to interpret them usi ng
easy-to-cha ll enging blues so los with different time
feels.
Beginning with Louis Armstrong, vocal
improvisation was developed by a potpourri of
both vocalists and instrumentalists. Today. the field
of voca l improvisation is represented by four
genres: so lo a cappe ll a, voca lese , free voca l
improvisation and scat singing. Solo a cappella is
limited to those with unusual vocal proficiency
and is best exemplified by Bobby McFerrin.
McFerrin is one of the few arti sts in the world
who can manage a o ne-man show with no
accompaniment! Vocalese refers to actual text
assigned to the melodic pitches of a so lo that often
tells a story. There are many so lo artists and groups
who sti ll use this technique including Jon
Hendricks, Nneena Freelon, Kurt E llin g,
Manhattan Transfer and the New York Voices. Free
voca l improvisation is unwritten, e ntire ly
spontaneous and un premeditated. Best used as a
learn ing tool for student Jazz vocal groups. this
sty le is rarely performed live and is most
successful when one singer initiates a repeated
pattern (groove) which is then embellished with
additional improvised motivic layers. The only
group I know that performed this style of
improvisation was Jazz Vocal Summit during the
mid 80's. Fina ll y, scat singing is the appli cation
of sy llables that have no particular meaning to
me lodic pitches that are improvised. Despite
sty li stic differences all these types of vocal
improvisation require the ski llful articu lation of
notes wi th sy ll ab les.
Consider, for example. the contrasting styles
of contemporary voca li sts Bobby McFerrin, AI
Jarrea u . Jay Clayton and George Benson.
Although their individual modes of expression
differ, a ll four master improvisers learned how to
"p lay" their voices like musical instruments
without valves. strings, slides, bows or mallets'
To articulate notes. whether in the Pop, Jazz. R&B
or even classica l idioms, each artist created his or
her own vocabulary of vocal syllables.
Choosing syllables is entire ly subjective but
one can learn a lot by listening to the masters of
scat beginning with Louis Armstrong and Ella
Fitzgera ld . Armstrong. like many other "instru
vocalists" who followed, unconsciously used seal
sy ll ables that eillanated frolll his truillpet sty le.
4
,
Other scat singers who may not have played
a horn most likely had a particular musical
instrument in mind when they improvised.
Ella, for example , often used trombone- like
hand motions while scatting "du-wah" type
sy llables. McFerrin , a former Juilliard pianist.
is still the master of using hi s e ntire body to
support hi s vocal antics on stage!
Blues Sealill/des is an excell ent primer for
scat singing, but keep in mind that the syllables
I prescribe are derived from my own musica l
experie nces as a multi - instrumentali st who
learned how to arti culate rhythms and scales
with sticks, va lves and keys! I also li stened to
a lot of Ella's work. idoli zed Jon Hendricks
and Dave Lambert for many years and had
the opportunity to work with McFerrin for a
minute in the group , Jazz Voca l Summit.
I want to emphasize the importance of
spon taneous improv isation a nd e ncourage
students not to think too muc h about what
sy ll ab les to use. Blues Sealiludes purposely
uses an instrumental approach to articu lation,
as I have di scovered that we ll -constructed
sy llable combinations are the stepping-stones
toward creati ng one's own vocabu lary. Use the
written sy ll ables in this book as a learning too l
but don't be afraid to invent your ow n! And if
you ever think your sy llables are boring check
out the simplic ity of Chet Baker's scat!
While Jazz is still the choice idiom for
many aspiring scat si ngers. it is im portant that
career-minded musicians consider a palette of
contemporary musica l styles for their voca l
improvisations. This might include Pop. Rock,
R&B. Gospel. Country, Bluegrass, Hip Hop,
Ska. Fo lk, Cajun, Latin and the li st goes on!
True, scat singing o ri ginated from Jazz but it
5
can also be performed in any sty le by s imply
interpreti ng the beat with a "straight" or "swing"
feel. In fact, all contemporary music sty les fall
into only three catego ri es of beat subdi vision:
straight 8th (or 16th ). sw ing 8th (or 16th) and
12/8 (or tripl et feel).
Straight or "even" fee l indicates that 8th notes
should be interpreted exactl y as written. Swing
feel indicates that a group of two 8th notes should
be performed as fo ll ows:
,- J \
12/8 can be written as such or "with a 12/8
feel" can be indicated in com mon (4/4) time as a
triplet groove for the rh ythm section. The word
"feel" means "interpreted as" or "sounds like." It' s
really a shorthand way to write rhythms without
all the littl e 3's above the notes . Indicat ing straight
und sw ing beat subdi vis ions is essentia l when
writing rhythm section parts. Rhythm players need
to know what patterns to play in order to establi sh
the "groove" or "time-fccl" of a song. For these
musicians the most importa nt consideration in
se lect ing a drum beat. bass line or piano/guitar
co mpin g pattern is how the quarter note is
interpreted. T hat's why the best rh ythm parts
indicate sty le. tempo and feel. Here are some good
examples of c lear groove indications for rhythm
section:
Pop: medium straight 8th
Rock ballad: straight 161h feel
Slow R&B: swing 16ths
Bright Jazz: sw ing 8th shurne
50 's Rock ballad: 12/8 feel
Style indicat io ns are he lpful but sometimes
confusing when you cons ider hybrid grooves like
Pop-Rock, Jazz-Funk or Country-Swing. It is best
to further identify the sty le with a particular decade
and artist if possible.
The groove can also be a ltered by changing
the back-beat or harmonic rhythm. Both can be
accompli shed without rewriting a sing le note on
the page ! Half-time feel, for example. means
rhythm players should continue reading the chord
changes at the same rate of speed but play s lower
groove patterns to create the effect of playing at
half the tempo. In most contemporary grooves the
back-beat is played by the snare drum on beats 2
and 4 in one measure of common time (a normal
back-beat cycle consists of 2 snare hits). In half
time feel, however, the snare hits occur only on
beat 3 of each measure so it takes 2 measures 10
complete the back-beat cycle! On the other hand,
half-time means the harmonic rhythm is cut in half
while compi ng patterns are reduced so that the
who le song, in c luding the g roove, harmoni c
rhythm and melody, is performed exactl y ha lf as
fast as the origina l tempo.
There are other indications in Seatift/des that
change the groove including stop-time, broken
time, 2-beat feel, wa lking and shuffle feel. The
rhythm sec ti o n players choose appropriate
accom paniment patterns to create each feel. To
avoid confusion, all of these time feel descriptions
are li sted on a separate page preced ing the lead
sheet. There are two recorded versions of each
scatitude which employ a ditfere nt sequence of
time feels. The purpose of including these groove
variations is to p rov id e a lternate solo
interpretations for each song. The rhythm section
acco mpaniment is MP-3 formatted in order to
in c lude a va riet y of versions of each blues
inc luding voca l melody (sung by myse lf and
C hri s ty Bluhm), instrum e nt a l melody a nd
accompaniment without melody. All tracks are in
the key of C because of range considerations. but
you can eas il y transpose to any key of choice by
using a sound processor such as Sony Superscope.
6
Bob Stolorf
Boston . 2003
Musical Terms
back-beat accented snare or kick drum beats on 2 and 4 in I measure of4/4 time. In halftime feel beat 3 is accented only.
broken-time an approach to playing a time feel where the rhythm sect ion implies the pulse and feel without directly stating it by using comping patterns that are "broken up" and sometimes rhythmically ambig uous. There is a steady underlying pulse. Broken time is com mon in contemporary Jazz styles but can also be found in the R&B and Rock idioms.
count-otT meter, tempo and beat subdivi sion that rhythmically set up tune one or two measures "outside" the tune (before the actua l form of the song begins).
double-time feel a variat ion of the original time feel. The harmonic rhythm stays the same but the rhythm sectio n creates the effect of sounding twice as fast by playing a 2-bar comping pattern over 1 measure of time. ~
half-time feel a variati on of the original time feel in which the harmonic rhythm stays the same but the rhythm section creates the effect of sounding half as fast by stretching a I-bar comping pattern over 2 measures of time. In Pop and Latin feels, the most significant change is implemented by the drummer who swi tches the emphasis from
7
a strong back-beat (2 and 4) to one back-beat on beat 3 of every measure.
stop-time rhythmic figures that interrupt the groove while the harmon ic rhythm continues. Rhythm players suspend their patterns when playing stop-time figures written inside or above the measure.
time slashes representations of beats of time accord ing to the time signature. 4/4 time would have 4 slashes; 3/4 time, 3 slashes, while 6/8 would have 6 slas hes .
2-beat feel written in 4/4 time but interpreted with swi ng eighth notes (trip let feel). 2-beat fee l is used to describe Jazz and Country-Swing styles only. Bass plays most ly half notes with strong triplet embell ishments. ride cymbal pattern is a more abbreviated triplet pattern and piano uses light triplet camping with a lot of stylistic accents.
walking used mostly ill Jazz and Country-Swing sty les. The bass plays embelli shed quarter notes, drummers use a typical swing pattern on the ride cymbal and pianists intensify their comping with a more excited triplet feel using stylist ic accents.
CHAPTER 1
Scat Syllables
While spon taneous sy llables are ultimately
best for scat singing there are spec ific musical
elements to consider for those in training who are
trying to develop a scat vocabu lary. The first and
most important consideration for sy ll ab les is the
use of vowels. My suggestion is to start with short
"a" as in "tuba," long He" as in "me" and long "u"
as in "flute," To art iculate these vowels use
consonants B, D, Wand Y. For melodic scat where
there is a sequence of different notes I recom mend
pl';icing a's and u's on the lower notes and e's on
the higher pitches. A lso useful are long "a"
(pronounced "aye") and long "0" (pronounced
"oh") especially on sustained pitches. I added an
"h" after vowel "0" (e.g., boh and doh) to avoid
any confusion with the short vowel pronunciation.
To represent the "00" vowell decided to use vowel
"u" as in sy ll able "du." Similarly, I added the letter
"y" to vowel "a" (e.g., "way") to make sure it is
not pronounced with the short "ah" sound .
The short quarter note is pronounced with the
written vowel but rhythmically reduced to about
an 8th note duration. It is similar to staccato but a
bit longer and marked with a smal l upside-down
"v." Vocall y this is achieved by lifting the tongue
to the roof of the mouth or closing the throat. I
used to spell these notes with a " t" or "p" ending
(e.g., "bop" or "dut") but my students would
pronounce the extra consonant as an additional
rhythm making the quarter sound like two 8th
notes'
Two scat syllables I like to use are "dn" and
"dl." Both are unaccented and do not contain a
specific vowel. "Dn" is pronounced with an almost
sil ent "d" and more orthe "n" sound. This sy llable
works best with rhythmic figures in s low to
medium tempos. "DI" also leans more on the 'r and is perfect for fast scat lines. Another favorite
of mine is the sy llable "dwe."
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CHAPTER 2
U sing Accents in 8th,
Triplet and 16th Figures
One of my best decisions as a student of music
many years ago was studying the drums. From
etude books. particularly Ted Reed 's SYllcopatioll
Jor ,he Modern Drtlllllll el; I learned how to
effecti vely use accents with a variety of rhythmic
ligures including 8ths. triplets and 16ths. With the
addition of ties, 1 extended my rh ythm ic
vocabulary with hundreds of permutat ions of
syncopa ted patt ern s. Interna lizing rhyt hmic
15
patterns is essential for crea ting interesting scat
solos. si nce rhythmic va ri e ty is often a vocalist's
weakest ski II.
The foll owing exercises arc non -pitched
rhythmic patterns using 8th. triplet and 16th
figures with added accents and tie,. You can
practice to a metronome or over any of the rhythm
section tracks on the CD's without worrying about
pitch'
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25
CHAPTER 3
Major and Pentatonic Scales
While you are working on your rhythmic patterns it is important to begin applying melodic pitches
derived from specific scales. I recommend three essential scales for novice scat si ngers who want to learn
how to improvise over blues changes: major (do-re-mi-jcl-sol-la-li-do), pentato nic (do- re-mi-sol-Ia ) and,
of course, the blues scale covered in Chapter 4 .
26
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!
CHAPTER 4
The Blues Scale
The blues sca le (do-me-faJi-sol-re) is a versati le sca le for improv isation because it is easy to learn,
sounds "cool" and will work over chord progress ions other than standard blues. Practice the fo llowing
blues scale exerc ises to any or the enc losed CD tracks.
33
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38
CHAPTERS
Blues Scatitudes
The following solos were written to standard blues chord progressions and are complete with syllab les ,
accents and articu lations. The background rhythm section tracks provide a variety of grooves including
Jazz, Latin, Rock , R&B, Funk, Cajun and Reggae styles . [n addition there are contemporary time feels
added to each solo including straight (even), swing, shuffle, ha lf-time, double-time, 2-beat. walking ancl
stop-time. Read the definitions of these terms to get a clear understanding of how these subtl e changes
affect the music.
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40
Blues For The Bean
(Tracks 1-6)
Version A JAZZ S WING
track I rhythm section w ilh vocal melody (Chri sty) track 2 rhythm section w ith instrumental melody track 3 rhythm section only w ithout melody
swing 8th with two-beat fee l at letter A walking feel at letter B shuffle fee l at letter C
Version B R&B
track 4 rh ythm section w ith voca l melody (Bob) track 5 rh ythm section w ith instrumental melody track 6 rhythm section only w ithout melody
swing 8th w ith hal f- time feel Slop-lime al leller C (4 bars only)
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Blues For Bootz
(Tracks 7-12)
Version A JAZZ SWING
track 7 rhythm secl ion with vocal melody (Chri sty) track 8 rhythm section with instrumental melody
track 9 rhythm seclion only without melody
swi ng 81h with two-beat feel at leller A walking feel on intro and letter B shul'tle feel at leiter C and coda
Version B R EGGAE
track 10 rhythm sec tion with vocal melody (Bob) track 11 rhythm section with instrumental melody
track 12 rhythm seclion only without melody
swing 8th with half-time fcel
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48
•
Blues For Mr. Hardy
(Tracks 13-18)
Version A JAZZ SWI NG
track 13 rhythm section w ith voca l melody (Christy) track 14 rhythm section w ith instrumental melody
track 15 rhythm section only without melody
sw ing 8th with walking feel at letter A shuftle feel at letter B
stop- time at letter C (4 bars on ly)
Version B R&B
track 16 rhythm secti on w ith vocal melody (Bob) track 17 rhythm section w ith instrumental melody
track 18 rhythm section only without melody
swi ng 8th with half-time feel
stop-time at Ictter 0
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52
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Lord Paddington Blues
(Tracks 19-24)
Version A J AZZ S WING
track 19 rhythm secti on with vocal me lody (C hri sty) track 20 rhythm secti on with instrumenta l melody
track 21 rh ythm section onl y without me lody
swing 8th broken-time feel at letter A wa lking fee l at lette r B
Version B R OCK
track 22 rhythm sec ti on with voca l me lody (Bob) track 23 rhythm secti on with instrumenta l me lody
track 24 rhythm sec ti on only without melody
swing 8th shuftle fee l half-time feel at le tter D
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Columbo Blues
(Tracks 25-30)
Version A M EDIUM JAZZ S WING
track 25 rhythm secti on with vocal melody (Bob) track 26 rhythm section with instrumental me lody
track 27 rhythm secti on onl y without melody
swing 8th with 2 beat feel at letter A stop-time at leller C (4 bars only)
wa lking fee l at letter C-35
Version B S LOW JAZZ S WtNG
track 28 rhythm secti on with vocal melody (Chri sty)
track 29 rhythm section with instrumental melody track 30 rhythm sec ti on onl y without melody
swing 8th ballad feel stop-time at letter D (4 bars onl y)
57
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60
Blues For Kramer
(Tracks 31-39)
Version A R&B STRAIGHT FUNK
track 31 rhythm section w ith vocal melody (Bob) track 32 rhythm section with instrumental melody
track 33 rh ythm section only without melody
straight (even) 16th feel
Version B R&B SWI NG F UNK or " SWUNK"
track 34 rhythm section with voca l melody (Bob) track 35 rhythm section with instrumental melody
track 36 rhythm section only w ithout melody
swi ng 16th feel
Version C L ATIN S AMBA
track 37 rhythm section w ith vocal melody (Chri sty) track 38 rhythm section with instrumental melody
track 39 rhythm section only without melody
straight (even) 16ths with double-time feel
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65
Blues For Mr. Mason
(Tracks 40-45)
Version A C AJUN
track 40 rh ythm secti on with vocal melody (Bob) track 41 rhythm secti on with instrumental melody
track 42 rhythm section only without melody
straight (even) 8th feel
Version B R OCK
track 43 rhythm section wi th voca l melody (Christy) track 44 rhythm section with instrumental melody
track 45 rhythm secti on onl y without melody
swing 8th shuffle fee l ha lf- time feel at letter C (m. 3 1)
66
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Blues For Mon Ami
(Tracks 46-51)
Version A C AJUN
track 46 rhythm section with vocal melody (Bob) track 47 rhythm secti on with instrume ntal me lody
track 48 rhythm section onl y without me lody
straight (even) 8th feel
Version B ROCK and R EGGAE
track 49 rhythm section with vocal melody (Chri sty) track 50 rhythm section with instrumental me lody
track 51 rhythm section onl y without melody
swing 8th Rock shuffle fee l half- time Reggae fee l at letter B- 17
ori ginal Rock shuffl e feel at letter C-29
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What's on the CD 1. Blues For The Bean
(T RACKS 1-6)
Version A: Jazz Swing track 1 rhythm section with vocal melody (Chri sty) track 2 rhythm section with instrumental melody track 3 rhythm section only without melody
Version B: R&B
track 4 rhythm section with voca l melody (Bob) track 5 rhythm section with instrumental melody track 6 rhythm section onl y without melody
ll. Blues For Bootz (TRACKS 7- 12)
Version A: Jazz Swing
track 7 rhythm section with vocal melody (Chri sty) track 8 rhythm section with instrumental melody track 9 rhythm section only without melody
Version B: Reggae
track 10 rhythm section with vocal melody (Bob) track 11 rhythm section with instrumental melody track 12 rhythm section only without melody
m. Blues For Mr. Hardy (TRACKS 13-18)
Version A: Jazz Swing track 13 rhythm section with voca l melody (Chri sty) track 14 rhythm section with instrumental melody track 15 rhythm section only without melody
Version B: R&B
track 16 rhythm section with vocal melody (Bob) track 17 rhythm section with instrumental melody track 18 rhythm section only without melody
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IV. Lord Paddington Blues (T RACKS 19-24)
Version A: Jazz Swing
track 19 rhythm sectio n with vocal me lody (Christy) track 20 rhythm section with instrumental melody track 21 rhythm section onl y without melody
Version B: Rock
track 22 rhythm section with vocal me lody (Bob) track 23 rhythm section with instrumental me lody track 24 rh ythm section onl y without melody
V. Columbo Blues (T RACKS 25-30)
Version A: Medium Jazz Swing
track 25 rhythm section with vocal me lody (Bob) track 26 rhythm section with instrumental me lody track 27 rhythm section only without melody
Version B: Slow Jazz Swing
track 28 rhythm secti on with vocal melody (Chri sty) track 29 rhythm section with instrumental melody track 30 rhythm section onl y without melody
VI. Blues For Kramer (T RACKS 3 1-39)
Version A: R&B Straight Funk track 31 rhythm section with vocal melody (Bob) track 32 rhythm secti on with instrumental melody track 33 rhythm section onl y without melody
Version B: R&B Swing Funk or "Swun k"
track 34 rhythm secti on with vocal melody (Bob) track 35 rhythm section w ith instrumental melody track 36 rhythm section onl y without me lody
Version C: Latin Samba
track 37 rhythm section with voca l melody (Chri sty) track 38 rhythm section with instrumental melody track 39 rhythm section only without melody
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VIl. Blues For Mr. Mason (TRACKS 40-45)
Version A: Cajun
track 40 rhythm section with vocal melody (Bob) track 41 rhythm section with instrumental melody track 42 rhythm section only without melody
Version B: Rock
track 43 rhythm section with vocal melody (Christy) track 44 rhythm section with instrumental melody track 45 rhythm section only without melody
VIII. Blues For Mon Ami (TRACKS 46-51)
Version A: Cajun
track 46 rhythm section with vocal melody (Bob) track 47 rhythm section with instrumental melody track 48 rhythm section only without melody
Version B: Rock and Reggae
track 49 rhythm section with vocal melody (Christy) track 50 rhythm section with instrumental melody track 51 rhythm section only without melody
Bob Stoloff: vocals and drums
Christy Bluhm: vocals
Brad Hatfield: keyboards and keyboard arrangements
Recorded at Brad Hatfield Productions, Westwood, MA Vocals, drums and final mjxes recorded by Peter Kontrimas at PBS, Westwood, MA MP-3 files prepared by Sean Kelly
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