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APPROAGHIilGTHE SMilDARDSby Dn Ronald c. McGurdy and Dn willie L. Hill, Jn

PREFAGE

There are two groups of standards that help form the basic repertory used in jazzimprovisation. The first groupwas created by iazz musicians directly from improvisation, experimentation and the analysis of musical forms,ideas and practices that were developed through study and the natural gifts of some of the greatest musiciansof the twentieth century. This group codified jazz into chronological styles and provides concrete examples ofits styles and concepts. The second group of standards is comprised of compositions written as popularsongsduring the first half of the twentieth century. Many of the composers of these songs were highly'influenced byiazz composers and players. Jazz musicians also used compositions by composers who wère not influencedby jazz because those compositions became excellent vehicles for jazz improvisation when the melodies werealtered to fit jazz concepts.

ln this series, Dr' Ron McCurdy and Dr. Willie Hill have utilized compositions from both groups to give musiciansa well-balanced selection oÍ music to help the "fearful to the fearless" improve lheir jazzskills. They have pro-vided a learning situation that is similar to a typical jazz gig setting and included clearly written musical exam-ples to demonstrate how an improvised solo might be constructed.

Every improviser is a composer who makes up melodies spontaneously. The model choruses give examplesthat can be studied, learned, broken into independent phrases and used to create other melodies that reflectmore clearly what the improviser wants to say musically. Dr. McOurdy and Dr. Hill have given the musician whouses this series an inside look at lhe iazz vocabulary transcription opportunities, informative composer insightsand a useful discography to help put the music into the context that is needed to improve his or her jazz siitts.Whatever your voice or instrument, you can have fun and learn a lot as you study the music, learn the melodiesand play along with the excellent musicians on the enclosed CDs.

Dr. Billy Taylor

Editor: Pete BarenBreggeProduction Coordinator: Sharon Marlow

Technical Editor: Glyn DryhurstFinale Engraven Mark Buqess

Art Design: Joe KlucarArt Layout Mafu A Chenique

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Approaching the Standards for Jazz Vocalists is part oÍ the Jazz lmprovisation Series. From the iazz novice to budding professi«rn-

als, this sing-along series is designed to help vocalists build a melodic, harmonic and rhythmic iazz vocabulary. Ten classic ja-tunes are featured on the sing-along CD for students to listen, analyze, transcribe and commit to memory. Each song gives thesinger the opportunity to hear the jazz language performed by professional singers as if he or she were performing at a real glg- CDicons are included to clarify the sequence of tracks in the book; observe the following:

A. First track for each tune1. Head (demo)2. Example improvisation (listen/analyze)3. lmprovised solo (listen/transcribe)4. Head (demo)

B. Second track for each tune1. Head (play along)2. Solo choruses (create your own improvisation)3. Head (play along)

You will find great solo examples to listen to and imitate. As you will hear, there are many different ways to sing melodies, and it ba challenge to you the vocalist to discover the most convincing ways to "tell your story." Also included are composers' insigh§ adiscography, a list of common jazz terms and lots of "licks and tricks" to assist you in the process of internalizinsïheiazz language-Listen carefully how vocalists interpret and personalize each of the songs. I encourage you to experiment with a variety of scat qft'lables with your improvisations. As you listen more carefully to recordings of vocaljazz icons such as Ella Fiizgerald, Sarah Vzughan,Joe Williams and Mel Torme, to name only a few, you will discover that there is no universal approach to employing scat syllablessince each artist has his or her own approach. I also encourage you to listen to instrumentalists as yet another source of acquiringIhe iazz language, and then use syllables that best resemble the sound the instrumentalist is making. The two vocalists on the GDare the very talented Pam Bricker and me. Thanks to these fine rhythm section players: Ron Elliston, Dallas Smith, Paul Wngo andClyde Conner.

Dr. Ron McCurdy

Dr. Ronald C. McGurdy is currently director of the Thelonious Monk lnstitute of Jazz Performance Program at theUniversity of Southern California. Dr. McCurdy received his undergraduate degree from Florida A&M Universi§ andreceived his master's degree and Ph.D. from the University of Kansas. He is the current president of thelnternational Association of Jazz Educators flAJE). Dr. McCurdy was professor of music and chair of the African-American Studies Department and served as director oÍ Jazz Studies at the University of Minnesota. Prior to hisappointment at the University of Minnesota, he served seven years as director oÍ Jazz Studies at the University ofKansas. Dr. McCurdy also served as director of the Walt Disney All-American Summer College Jazz Ensemble andJazz Singers in Orlando, Florida. A few of the guest artists he has worked with include Joe Williams, ArturoSandoval, Diane Schuur, Ramsey Lewis, Mercer Ellington, Dr. Billy Taylor, Maynard Ferguson, Lionel Hampton andDianne Reeves. He has served as a member of the Jamey Aebersold Jazz Camp faculty and currently serves asdirector for the National Grammy in the Schools Vocal Jazz Ensemble. Dr. McCurdy is in demand as a guest clini-cian, soloist and director of honor jazz ensembles and choirs throughout the United States and Canada.

Dr. Willie L. Hill, Jr., is director of the Fine Arts Center at the Universi§ of Massachusetts-Amherst and a professorin music education. He received his B.S. degree from Grambling State University and earned M.M. and Ph.D.degrees from the University of Colorado-Boulder. He is currently president-elect of the National Association forMusic Educators: MENC and past president of the lnternational Association of Jazz Educators (IAJE). Dr' Hill wasa professor in music education and the assistant dean at the College of Music at the University of Colorado-Boulderfor 11 years and director of education for the Thelonious Monk lnstitute. Prior to his tenure at the University ofColorado, Dr. Hill taught instrumental music and was music supervisor for 20 years in the Denver Public Schools.As a professional muèician, he has performed with Liza Minnelli, Lena Horne, Lou Rawls, Ben Vereen, Lola Falana,

Johnny Mathis, Sammy Davis Jr., Dizzy Gillespie and many others. He is co-author oÍ Learning to Sight-Read Jaz,Rock, Latin, and Classica/ Sty/es (Ardsley House Publications) and the author of The lnstrumental History of Jaz(N2K, Inc.). Hill is listed in the first edition of Who's Who Among Black Americans and Who's Who AmongI nternational Musicians.

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,lAL?, t/0cALlÉfÉ LrorÉ ANo Ígrct6Lick # l- outlines the scale from the tonic minor chord, which then can be transposed to fit the otherchords. Lick #2 uses an octave jump in a question-and-answer style riff. Lick #3 starts on the flatted 5thinterval that works great with iunes like this with sparse chord changes, but don't overuse thistechnique!

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í,iL?' \í00ALtÉÍÉ Lrc(6 ANo Ígr0t6Lick #1 uses a minor scale riff in a question-and-answer pattern. Lick #2incorporates ideas taken foomthe melody line. This is always an interesting way to approach an improvised solo-play with orembellish the melody! Lick #3 is for the bridge chord progression utilizing scale-wise movement.

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Licks #1 and 2 arebothtypical blues licks incorporating a minor 3rd interval. Use these on the firstfour bars. Lick #3 is also a blues lick but using a flatted 5th interval and some interesting rhythmicallicks, too. The blues scale offers endless possibilities - use your ears, explore and create your own blueslicks!

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Licks #1 and 3 offer a simple lick for the tonic or I chord for two bars then for the II augmented oraltered chord for the next two bars. Check out the sound of this distinctive altered choró. Lick #3 is anoften-played rhythmic riff known as the shout chorus played over the A section.

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íAL?. Ií00ALI6ÍÉLick #1 fits over the first four bars of this tune. Lick #2 is apattern over ascending minor 7th chords;use this over the second eight bars of the tune. Lick #3 is foi the ii-V chordprógiEsiion in tÀe ÈriàgË otB section. This one is easy ïo hear and sing. Tiasnspose this pattern intó ali Ëèyfi

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