Jazz Singing

Tish Oney has headlined with symphony orchestras, big bands, and jazz combos throughout the world and has recorded five albums as leader. Possessing a doctorate in jazz from University of Southern California, this internationally acclaimed jazz singer, musicologist, arranger, composer, and conductor has served several institutions as professor and visiting artist. She writes a column titled “Anatomy of a Standard” for All About Jazz and authored Peggy Lee: A Century of Song.

• IntroductionChapter 1 - The Science of SingingAnatomy of the LarynxAnatomy of the Breathing MechanismAnatomy of the Ear and Hearing ProtectionThe Physics of SingingChapter 2 - Vocal Health and HygieneHabits to Cultivate for a Healthy VoiceDaily Check-In and Warm-UpThe Healthy Speaking VoiceSleep HygieneThe Voice Care TeamHearing ProtectionEnvironmental ConsiderationsVoice Problems and PathologiesVoice PreservationChapter 3 - Posture and AlignmentBalance Points in the SkeletonCoordinating Body AlignmentSinger-InstrumentalistsBenefits of Excellent PosturePosture Lessons from the MastersChapter 4 - Managing the BreathThe Process of BreathingApplying the Singer’s Breath to JazzHelpful Breathing ExercisesChapter 5 - Phonation, Articulation, and ResonancePhonationArticulationResonanceDr. Oney’s Mix ContinuumChapter 6 - Jazz Style and OrnamentationJazz LanguageJazz Across the WorldStyle in the Voices of Jazz MastersThe Listening DietTools for Teaching Jazz StyleThe Bag of TricksChapter 7 - Vocal ImprovisationMelodic EmbellishmentScat ImprovisationText-Based ImprovisationVocaleseLyric ImprovisationFree ImprovisationWorld Music and ImprovisationChapter 8 - Phrasing and ExpressionPhrase TypesSteps to Learning a SongBack-PhrasingLearning Phrasing from the MastersThe Art of ExpressionChapter 9 - Microphone Technique and Vowel ShapingBasics of Microphone TechniqueTypes of MicrophonesCrossover Work with a MicrophoneNavigating the Mix Continuum with a MicrophoneSelecting MicrophonesSound ChecksMicrophone Technique and CommunicationMic Technique of the MastersVowel PurityMicrophones and ArticulationSubtlety is KeyChapter 10 - Vocal Jazz EnsemblesWhat is Blend?BalanceAuthentic StyleInstrumentalists as Choir DirectorsSolo Voices in a Choral SettingVocal Jazz RepertoireTips for an Effective RehearsalStructuring the RehearsalBuilding the Vocal Jazz EnsembleGuided Listening to Professional EnsemblesChapter 11 - Dalcroze Eurhythmics and Voice PedagogyIntroduction to the Dalcroze MethodThree Pillars of InstructionBenefits of Studying Dalcroze ExercisesApplications of Dalcroze Exercises in the Applied StudioTypes of Dalcroze ExercisesApplication of Dalcroze Exercises in the Vocal Jazz EnsembleChapter 12 - Jazz Theory and Instrumental ApproachesScales and ModesChord Progressions and FormMotivic ImprovisationThirds, Sevenths, and ExtensionsHemisphericityTranscriptionChapter 13 - Mindful Singing and Mental ToughnessPre-Performance Mental PreparationThe Vocal Warmup RoutineMcCloskey’s Points of RelaxationBreathing ExercisesMindful PracticeMental ToughnessChapter 14 - Arranging and BandleadingThe Jazz Singer-ArrangerConstructing a Professional ArrangementPlaying with StylesBandleadingChapter 15 - Artistry and Pedagogy—Putting It All TogetherThe Complete Singing ArtistThe Singer-EntrepreneurAlternate PathsA Complete PedagogyArtistry as GestaltConsistency and PracticeEvolving Artistry Throughout LifeTrue Artistic MasteryAppendix: Sample Practice GuideTeaching the Crossover SingerSample Practice Guide Part I: Strengthening TechniqueSample Practice Guide Part II: Expression and CommunicationSelected Bibliography

This volume is commendable for aspiring jazz singers because it contains pedagogic and performance tutelage that is based on voice science. Oney does not merely pay lip service to the topic. Instead, the inclusion of voice science is substantive and consistent throughout the volume. Oney encourages jazz singing that is both healthy and authentic. To achieve the former, she elucidates the principles of voice care and use; and to achieve the latter, she urges students to study with acclaimed vocal artists of the genre. She recommends that singers learn from the jazz masters, and refers the reader to specific artists. Moreover, singers of all genres will benefit from this volume. It not only offers an excellent overview of the physiology and function of the voice, but also serves as a compelling introduction to jazz singing and its most notable exponents. It is highly recommended.