A Form Voicings

C:

II

ALTERED MOTIVES
Some Bop-style motives to play over altered II-Vs.

PHRASING
Weve covered a lot of ground in the last ten chapters. This theoretical
knowledge, acquired through long hours of study and practice, is a challenge
that rewards the vocalist with the ability to hold his or her own as an equal
partner on the bandstand with an unlimited freedom expression.
And when it comes to relating to the audience, the singer has a built-in
advantage over the instrumentalist - words. Words tell a story and draw us in,
crossing the gap between performer and listener that no melody, no matter how
thrilling or heartbreakingly beautiful, can never completely close. The
challenge for the vocalist is to find that happy medium between pure emotion
and studied intellect, forging a personal style that is a unique statement of her
own experience.
Keep your presentation personal, informal. Whether scatting or singing
lyrics, you want to express yourself in a conversational manner. You are telling
a story. Think about the best storytellers you know. They draw you in, slowly,
like gently playing a fishing line. Youll hook your audience if you give them a
chance to become interested in what you have to say. Dont hit them over the
head with your brilliance. Lay back. Stay relaxed. Invite them to share in your
delicious secret.

YOU ARE FEELING VERY RELAXED...

Most of you are already familiar with the technical aspects of vocal
production, the concepts of support and placement. If not, get yourself to a
qualified instructor right away! Books are a great supplement to private lessons
in the theoretical areas but there is no substitute for personal coaching in vocal
production. The instructor doesnt have to be a Jazz singer. On the contrary, a
classical or legit teacher may be your best bet when it comes to developing the
right technique and avoiding the pitfall of struggling to unlearn bad habits.
Having said that, if theres one thing that bears a word or two it is the
importance of relaxation in the upper part of the body when singing specifically the shoulders, neck, lower jaw, lips, and tongue. This is especially
important because the mental concentration required for a person learning to
improvise, not to mention doing it in front of an audience, can create tension in
the body. It is critical that you refrain from tightening or holding in these areas.
The muscles of the larynx are divided into two groups:
(a) those inside the larynx which directly control phonation (intrinsic).
(b) those which move the larynx as a whole and keep it suspended in the
neck (extrinsic).
If you can keep the outer voluntary muscles relaxed, the inner ones will
follow suit.

Starting at the hairline and working down to the lower neck, gently
massage the muscles with your fingertips. Allow the face to fall into as limp a
condition as possible. Rub the fingers over your closed eyes. Slacken the jaw.
2) Allow the tongue to hang limply over the top of your lower front teeth
as if you were unconscious. This means hang, do not push it.
3) The swallowing muscles are attached to the mandible (jawbone) from
the base to the tip, converging upon the hyoid bone at the top of the larynx.
Using the fingertips of both hands, gently press the soft part of the throat on
either side of the larynx, starting at the hinge of the jaw and working under the
chin and down to the neck. Massage until the muscles are soft and pliable.
4) Closing your hand into a fist, press it upwards against the bottom of
the jaw while pushing the jaw down in an isometric type of resistance. Continue
until you feel a stretch in the muscles at the joints of your jawbone. You will
find that the jaw opens more freely with a wider range of movement after doing
this exercise.
5) Take the chin between the thumb and fore. forefinger and move it up and
down. There may be resistance at first, with the muscles of the jaw either
fighting the movement or making it happen. Not until you are able to perform
this exercise successfully will the jaw be completely relaxed.
6) Finish with neck and shoulder rolls and stay loose