In vocal jazz, what is the style in which vocal improvisation is made with random syllables or even without words?
"non-linguistic syllables, sounds, or noises, sometimes as musical onomatopoeia. A short piece of vocal music with lyrics is broadly termed a song. Vocal music is probably the oldest form of music, since it does not require any instrument besides the human voice. All musical cultures have some form of vocal music. Solfege, a vocalized musical scale, assigns various syllables such as ‘‘Do-Re-Mi‘‘ to each note. A variety of similar tools are found in traditional Indian music, and scat singing of jazz. Hip hop music has a very distinct form of vocal percussion known as beatboxing. It involves creating beats, rhythms,"
"Vocalese Vocalese is a style or musical genre of jazz singing wherein words are sung note for note to melodies that were originally created by a soloist's improvisation. Kurt Elling, perhaps the most well known current practitioner of the style, describes the style as such: ""Although the word 'vocalise' was first applied more strictly to Jon Hendricks' work in big band/multi-voice settings, it quickly broadened through general use to mean any application of a vocally presented lyric based on melodies first recorded by jazz instrumentalists, whether solos -a feat that could only have happened with the advent of recorded sound"
"of many words sung quickly in a given phrase, especially in the case of bebop. Vocalese has also been used in genres of music apart from jazz. Examples include Annie Haslam's singing with Renaissance in ""Mother Russia"", ""Prologue"" and ""Rajah Khan"" (also from ""Prologue""). An example applied to classical music is Flanders and Swann's comedic ""Ill Wind"", in which lyrics are set to the Rondo from Mozart's Horn Concerto No. 4 Vocalese Vocalese is a style or musical genre of jazz singing wherein words are sung note for note to melodies that were originally created by a soloist's improvisation. Kurt"
"Freestyle rap Freestyle is a style of improvisation with or without instrumental beats, in which lyrics are recited with no particular subject or structure. It is similar to other improvisational music, such as jazz, where a lead instrumentalist acts as an improviser with a supporting band providing a beat. Improv/freestyles are improvised in this way. In the book ""How to Rap"", Big Daddy Kane and Myka 9 note that originally a freestyle was a spit on no particular subject – Big Daddy Kane said, ""in the ’80s when we said we wrote a freestyle rap, that meant that it was"
"jazz singers. Scat singing gives singers the ability to sing improvised melodies and rhythms, to create the equivalent of an instrumental solo using their voice. Scatman John (John Paul Larkin) renewed interest in the genre briefly during the mid-90s. Vocal improviser Bobby McFerrin’s performances at major concert halls worldwide show that “wordless singing has traveled far from the concepts demonstrated by Louis Armstrong, Gladys Bentley, Cab Calloway, Anita O’Day, and Leo Watson”. Another method of scat singing is practiced by guitarists who scat along with their solos note for note. Notable practitioners include George Benson, Sheldon Reynolds, and Rik Emmett."
"Jazz improvisation Jazz improvisation is the spontaneous invention of melodic solo lines or accompaniment parts. It is one of the defining elements of jazz. Improvisation is composing on the spot, when a singer or instrumentalist invents melodies and lines over a chord progression played by rhythm section instruments (piano, guitar, double bass) and accompanied by drums. Although blues, rock, and other genres use improvisation, it is done over relatively simple chord progressions which often remain in one key (or closely related keys using the circle of fifths, such as a song in C Major modulating to G Major). Jazz improvisation"
"them instrumentally. (The adage ""If you can't sing it, you can't play it"" was common in the early New Orleans jazz scene.) In this manner, soloists like Louis Armstrong became able to double as vocalists, switching effortlessly between instrumental solos and scatting. Scat singing resembles the Irish/Scottish practice of lilting or diddling, a type of vocal music that involves using nonsensical syllables to sing non-vocal dance tunes. Scat singing can allow jazz singers to have the same improvisational opportunities as jazz instrumentalists: scatting can be rhythmically and harmonically improvisational without concern about destroying the lyric. Especially when bebop was developing,"
"the lyric, move to a ""specialty chorus"" introducing the scat chorus, and then the scat itself. Will Friedwald has compared Ella Fitzgerald to Chuck Jones directing his Roadrunner cartoon—each uses predetermined formulas in innovative ways. The deliberate choice of scat syllables also is a key element in vocal jazz improvisation. Syllable choice influences the pitch articulation, coloration, and resonance of the performance. Syllable choice also differentiated jazz singers' personal styles: Betty Carter was inclined to use sounds like ""louie-ooie-la-la-la"" (soft-tongued sounds or liquids) while Sarah Vaughan would prefer ""shoo-doo-shoo-bee-ooo-bee"" (fricatives, plosives, and open vowels). The choice of scat syllables can"
"containing non-lexical vocables and phonemes. There is no grammatical relation between or among syllables, nor are they accompanied by clearly defined word boundaries. Vonlenska emphasizes the phonological and emotive qualities of human vocalizations, and it uses the melodic and rhythmic elements of singing without the conceptual content of language. In this way, it is similar to the use of scat singing in vocal jazz and puirt à beul in traditional Scottish and Irish folk music. The band's website describes it as ""a form of gibberish vocals that fits to the music""; It is similar in concept to the ethereal vocals"
"Free improvisation Free improvisation or free music is improvised music without any rules beyond the logic or inclination of the musician(s) involved. The term can refer to both a technique (employed by any musician in any genre) and as a recognizable genre in its own right. Free improvisation, as a genre of music, developed in the U.S. and Europe in the mid to late 1960s, largely as an outgrowth of free jazz and modern classical musics. Exponents of free improvised music include saxophonists Evan Parker, Anthony Braxton, Peter Brötzmann and John Zorn, drummer Christian Lillinger, trombonist George Lewis, guitarists Derek"
"-the early composers of such lyrics essentially invented a new art form."" Whereas scat singing uses improvised syllables, such as ""bap ba dee dot bwee dee"" in solos, vocalese uses written lyrics, set to pre-existing instrumental solos. In a 'first wave' of vocalese creation, this sometimes took the form of a tribute to the original instrumentalist, such as Eddie Jefferson's version of ""Body and Soul,"" which featured lyrics about Coleman Hawkins, whose landmark solo on the tune is globally recognized. The word ""vocalese"" is a play on the musical term ""vocalise"" and the suffix ""-ese"", meant to indicate a sort"
"vast number of experimental programs. Free improvisation Free improvisation or free music is improvised music without any rules beyond the logic or inclination of the musician(s) involved. The term can refer to both a technique (employed by any musician in any genre) and as a recognizable genre in its own right. Free improvisation, as a genre of music, developed in the U.S. and Europe in the mid to late 1960s, largely as an outgrowth of free jazz and modern classical musics. Exponents of free improvised music include saxophonists Evan Parker, Anthony Braxton, Peter Brötzmann and John Zorn, drummer Christian Lillinger,"
"spend hours on a section or transition that would play for like two seconds and never comes back in.""""I wanted to compose songs rather than just make beats [...] so in straining for a substitute for the emcee, it felt natural to study jazz musicians and the way instruments can become vocalizations. As a part of that process, many of these songs in a very organic way took on the form of jazz numbers, with frequent tempo changes (sometimes obvious and sometimes barely noticeable), subtle and shifting drums, minimal effects, and something like the thrill of improvisation."" Matt Chang Matt"
"reputations in the hip hop community; if you are able to step into the cipher and tell your story, demonstrating your uniqueness, you might be more accepted"". These groups also serve as a way for messages about hip hop styles and knowledge to be spread, through word-of-mouth and encouraging trends in other battles. Freestyle rap Freestyle is a style of improvisation with or without instrumental beats, in which lyrics are recited with no particular subject or structure. It is similar to other improvisational music, such as jazz, where a lead instrumentalist acts as an improviser with a supporting band providing"
"began to learn and perform a wide variety of music, including jazz, rock, pop, funk, and fusion. The idea was looked down upon at first but eventually was adopted by many and is now popular in high schools across the United States. A vocal jazz ensemble usually consists of the choir, normally made up of 8–16 singers, and a Rhythm section most often consisting of a pianist, a bassist, a guitarist, and a drummer. Singers either each hold a microphone or sing with area microphones. Vocal jazz ensembles also often sing a cappella. Vocal jazz Vocal jazz or jazz singing"
"the changes. ... [However], a jazz musician really has several options: he may reflect the chord progression exactly, he may ""skim over"" the progression and simply elaborate the background harmony, or he may fashion his own voice-leading which may clash at some points with the chords the rhythm section is playing. With the notable exception of liturgical improvisation on the organ, the first half of the twentieth century is marked by an almost total absence of actual improvisation in art music. Since the 1950s, some contemporary composers have placed fewer restrictions on the improvising performer, using techniques such as vague"
"chord changes. Jazz improvisation can be divided into soloing and accompaniment. When soloing, a performer (instrumentalist or singer) creates a new melodic line to fit a song's chord progression. During a solo, the performer who is playing the solo is the main focus of the audience's attention. The other members of the group usually accompany the solo, except for some drum solos or bass solos in which the entire band may stop while the drummer or bassist performs. When a singer improvises a new melody over chord changes, it is called scat singing. When singers are scat-singing, they typically use"
"made-up syllables (""doo-bie-bo-ba""), rather than use the lyrics of the song. Soloing is often associated with instrumental or vocal virtuosity; while many artists do use advanced techniques in their solos, this is not always done. For example, some 1940s and 1950s-era bass solos consist of the bassist playing a walking bassline. There are a number of approaches to improvising jazz solos. During the swing era, performers improvised solos by ear by using riffs and variations on the tune's melody. During the bebop era in the 1940s, jazz composers began writing more complex chord progressions. Saxophone player Charlie Parker began soloing"
"and scratching. The singer of the Icelandic group Sigur Rós, Jón Þór Birgisson, often uses vocals without words, as does Icelandic singer/songwriter, Björk. Her album Medúlla is composed entirely of processed and acoustic vocal music, including beatboxing, choral arrangements, and throat singing. Singer Bobby McFerrin has recorded a number of albums using only his voice and body, sometimes consisting of a texted melody supported by untexted vocalizations. The Second Viennese School, especially Alban Berg and Arnold Schoenberg, pioneered a technique called Sprechstimme in which singers are half-talk, half-sing, and only approximate pitches. Vocal music Vocal music is a type of"
"Jam session A jam session is a relatively informal musical event, process, or activity where musicians, typically instrumentalists, play improvised solos and vamp on tunes, songs and chord progressions. To ""jam"" is to improvise music without extensive preparation or predefined arrangements, except for when the group is playing well-known jazz standards or covers of existing popular songs. Original jam sessions, also 'free flow sessions', are often used by musicians to develop new material (music) and find suitable arrangements. Both styles can be used simply as a social gathering and communal practice session. Jam sessions may be based upon existing songs"
"with no conventional notation whatsoever, which musicians were invited to interpret. Improvisation is still commonly practised by some organists at concerts or church services, and courses in improvisation (including free improvisation) are part of many higher education programmes for church musicians. Notable contemporary organists include Olivier Latry and Jean Guillou. Free improvisations for organ has also occasionally been recorded and released on albums, such as Like a Flame by Frederik Magle. Improvisation has been a central element of jazz since the music's inception, but until the 1950s, such improvisation was typically clearly within the jazz idiom and based on prescribed"
"rhythm. These elements are improvised at will, as the music progresses. John Eyles notes that guitarist Derek Bailey has been quoted as saying that free improvisation is “playing without memory”. In his landmark book ""Improvisation"", Bailey writes, ""The lack of precision over its [free improv's] naming is, if anything, increased when we come to the thing itself. Diversity is its most consistent characteristic. It has no stylistic or idiomatic commitment. It has no prescribed idiomatic sound. The characteristics of freely improvised music are established only by the sonic musical identity of the person or persons playing it."" Free music performers,"
"recorded in a jazz vein. Though constrained by the material, Ella Fitzgerald's ""Songbook"" series introduced a great many people to jazz singing. Eddie Jefferson is credited as an innovator of vocalese, a musical style in which lyrics are set to an instrumental composition or solo. Many of the singers who had worked with the big bands of the swing era were now solo artists, in the prime of their careers and many had achieved fame internationally. Sarah Vaughan, Vic Damone, Mel Tormé, Lambert, Hendricks & Ross, Tony Bennett, Billy Eckstine, Dean Martin, Joe Williams, Dinah Washington, Anita O'Day, Julie London,"
"or even impossible to roll their tongues in this way, possibly due to ankyloglossia. Uvular fluttertonguing is a method of producing a flutter tongue effect with the back of the tongue. The instrumentalist performs an uvular trill, which produces the traditional growl sound from the jazz idiom. Uvular fluttertonguing can also be used when an alveolar trill is not appropriate to achieve the effect of fluttertonguing, e.g. in the low range of the flute, or when a faster fluttertongue is desired. Fluttertonguing can also be used in conjunction with other types of articulation. Either method requires more than the usual"
"Outside (jazz) In jazz improvisation, outside playing describes an approach where one plays over a scale, mode or chord that is harmonically distant from the given chord. There are several common techniques to playing outside, that include side-stepping or side-slipping, superimposition of Coltrane changes, and polytonality. The term side-slipping or side-stepping has been used to describe several similar yet distinct methods of playing outside. In one version, one plays only the five ""'wrong'"" non-scale notes for the given chord and none of the seven scale or three to four chord tones, given that there are twelve notes in the equal"
"a style of unaccompanied vocal music characterized by consonant four-part chords for every melody note in a predominantly homophonic texture. Each of the four parts has its own role: the lead sings the melody, with the tenor harmonizing above the melody, the bass singing the lowest harmonizing notes, and the baritone completing the chord. The melody is not sung by the tenor or bass, except for an infrequent note or two to avoid awkward voice leading, in tags or codas, or when some appropriate embellishing effect can be created. Occasional brief passages may be sung by fewer than four voice"
"is distinguished from this approach by chordal complexity, often with one or more chord changes per bar, altered chords, extended chords, tritone substitution, unusual chords (e.g., augmented chords), and extensive use of ii–V–I progression, all of which typically move through multiple keys within a single song. However, since the release of ""Kind of Blue"" by Miles Davis, jazz improvisation has come to be associated with modal harmony and improvisation over static key centers, while the emergence of free jazz has led to a variety of types of improvisation, such as ""free blowing"", in which soloists improvise freely and ignore the"
"Voice Crack Voice Crack was a Swiss electronic free improvisation band. Formed in late 1972 by Andy Guhl and Norbert Möslang, Voice Crack began as a free jazz duo. Then they used pre-recorded tape effects and live sound processing. By 1983 they had eliminated normal instruments in favor of what they called ""cracked everyday electronics"". This included ""radios, turntables, transmitters, dictating machines"" and other items that are cracked open and manipulated to produce ""new sounds using magnetic and radio waves in a complex system controlled by movements of their hands and by light."" The result consisted of buzzes, clicks, drones,"
"in complexity, scat singing did as well. During the bop era, more highly developed vocal improvisation surged in popularity. Annie Ross, a bop singer, expressed a common sentiment among vocalists at the time: ""The [scat] music was so exciting, everyone wanted to do it."" And many did: Ella Fitzgerald, Eddie Jefferson, Betty Carter, Anita O'Day, Joe Carroll, Sarah Vaughan, Carmen McRae, Jon Hendricks, Babs Gonzales, and Dizzy Gillespie were all singers in the idiom. Fitzgerald once hailed herself as the ""best vocal improviser jazz has ever had"", and critics since then have been in almost universal agreement with her. In"
"Jon Hendricks John Carl Hendricks (September 16, 1921 – November 22, 2017), known professionally as Jon Hendricks, was an American jazz lyricist and singer. He is one of the originators of vocalese, which adds lyrics to existing instrumental songs and replaces many instruments with vocalists, such as the big-band arrangements of Duke Ellington and Count Basie. He is considered one of the best practitioners of scat singing, which involves vocal jazz soloing. Jazz critic and historian Leonard Feather called him the ""Poet Laureate of Jazz"", while ""Time"" dubbed him the ""James Joyce of Jive"". Al Jarreau called him ""pound-for-pound the"
"each other and to the group sound, to be able to react creatively within the group dynamic. A slightly similar method of continuous improvisation (""everybody solos and nobody solos"") was initially used by King Crimson's jazz-fusion contemporaries Weather Report. Fripp has used the metaphor of ""white magic"" to describe this process, in particular when the method works particularly well. Similarly, King Crimson's improvised music is rarely jazz or blues-based, and varies so much in sound that the band has been able to release several albums consisting entirely of improvised music, such as the ""Thrakattak"" album. Occasionally, particular improvised pieces will"
"typically were built on a framework of song forms, such as twelve-bar blues or the 32-bar AABA popular song form with chord changes. In free jazz, the dependence on a fixed and pre-established form is eliminated, and the role of improvisation is correspondingly increased. Other forms of jazz use regular meters and pulsed rhythms, usually in 4/4 or (less often) 3/4. Free jazz retains pulsation and sometimes swings but without regular meter. Frequent Accelerando and ritardando give an impression of rhythm that moves like a wave. Previous jazz forms used harmonic structures, usually cycles of diatonic chords. When improvisation occurred,"
"singers found scat to be the best way to adequately engage in the performance of jazz. Scatting may be desirable because it does not ""taint the music with the impurity of denotation"". Instead of conveying linguistic content and pointing to something outside itself, scat music—like instrumental music—is self-referential and ""d[oes] what it mean[s]"". Through this wordlessness, commentators have written, scat singing can describe matters beyond words. Music critic Will Friedwald has written that Louis Armstrong's scatting, for example, ""has tapped into his own core of emotion"", releasing emotions ""so deep, so real"" that they are unspeakable; his words ""bypass our"