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UNIVERSITY OF MIAMI
A STUDY OF VOCAL TECHNIQUE THROUGH THE DEVELOPMENT OF FOUR ADVANCED ÉTUDES FOR JAZZ AND CONTEMPORARY VOCALISTS
By
Charles L. Christenson
A DOCTORAL ESSAY
Submitted to the Faculty of the University of Miami
in partial fulfillment of the requirements for the degree of Doctor of Musical Arts
Coral Gables, Florida
May 2020
©2020
Charles L. Christenson All Rights Reserved
UNIVERSITY OF MIAMI
A doctoral essay submitted in partial fulfillment of the requirements for the degree of
Doctor of Musical Arts
A STUDY OF VOCAL TECHNIQUE THROUGH THE DEVELOPMENT OF FOUR ADVANCED ÉTUDES FOR JAZZ AND CONTEMPORARY VOCALISTS
Charles L. Christenson
Approved: ____________________________ ____________________________ Kathryn Reid, D.M.A. Frank Ragsdale, D.M.A. Associate Professor of Jazz Voice Associate Professor of Voice ___________________________ ____________________________ John Daversa, D.M.A. Guillermo Prado, Ph.D. Associate Professor of Dean of the Graduate School Studio Music and Jazz ____________________________ Charles Bergeron, Ed.D. Associate Professor of Professional Practice
CHRISTENSON, CHARLES L. (D.M.A., Jazz Performance)
(May 2020)
A Study of Vocal Technique Through the Development of Four Advanced Études for Jazz and Contemporary Vocalists
Abstract of a doctoral essay at the University of Miami.
Doctoral essay supervised by Dr. Kathryn Reid.
No. of pages in text. (137)
The étude, or study as it is sometimes called, is a short work intended to focus on
one or more technical or musical facets of performance. In some cases, these
compositions also demonstrate the aesthetic of the composer. Though present in many
instrumental and vocal teaching studios, the étude was particularly popular with pianists,
voice teachers, and composers in the 18th and 19th centuries. It has since been largely
underutilized by jazz and contemporary applied voice teachers. Private instructors in jazz
and contemporary styles often favor exercises to develop technique and repertoire to
cultivate improvisation and style. When employed alongside technical exercises and
repertoire assignments, études can present a number of unique educational advantages.
Advantages of the étude include varied opportunities for practical application of skills,
distinctive and engaging technical challenges, creative artistic expression, and clear
progressive organization based on technical concept or level of musicality. The purpose
of this study is to explore these potential benefits and endeavor to enhance current jazz
and contemporary vocal pedagogy with the addition of new études specific to these
styles. The original études generated by this study represent the beginning of a long-term
project.
This document includes four original advanced vocal études that serve as both
technical studies and examples of the author’s songwriting style. These new études have
been composed with the intention of providing opportunity for performance and technical
growth. Each étude’s technical content and form have been developed via three primary
components. First, a survey of the history of études has been completed, with a focus on
classical, jazz, and contemporary études popular among voice teachers. Second, in order
to better define the technical aspects of singing and categorize each étude, commonly
used vocal pedagogical resources have been referenced. Third, a survey of select
collegiate voice teachers has been conducted to guide the scope and hierarchy of
technical and musical concerns included in this study.
iii
DEDICATION
This work is dedicated to those that came before me––specifically my mother, Ann, my
father, Jeff, and their mothers and fathers––for their unending love and support in my
pursuit of this, a most impractical profession. They inspire me to work harder, pay
attention to the details, give unconditionally to those I love, and remain humble. In all
that I do I hope to make them proud.
iv
ACKNOWLEDGEMENTS
The author wishes to express his deepest appreciation to the following people, without
whose expertise and assistance, this project would not have been possible: Dr. Kate Reid,
Associate Professor and Program Director of Jazz Vocal Performance, University of
Miami; Dr. John Daversa, Associate Professor and Department Chair of Studio Music
and Jazz, University of Miami; Dr. Charles Bergeron, Associate Professor of Studio
Music and Jazz, University of Miami; Dr. Frank Ragsdale, Associate Professor and
Department Chair of Vocal Performance, University of Miami; Gary Lindsay, Professor
and Director of Studio Jazz Writing and Jazz Composition, University of Miami; Martin
Bejerano, Associate Professor of Studio Music and Jazz, University of Miami; Peter
Eldridge, Professor, Berklee College of Music; Kate McGarry; Theo Bleckmann, Faculty,
Manhattan School of Music; to all the teachers who participated in the voice instructor
survey; to my students; and to my friends and family for their love and support.
v
TABLE OF CONTENTS
Page
LIST OF EXAMPLES ................................................................................................. vii Chapter 1 INTRODUCTION ........................................................................................... 1 Justification of Research .................................................................................. 5 Purpose of this Study ....................................................................................... 7 Research Questions .......................................................................................... 7 Definition of Terms .......................................................................................... 8 Delimitations .................................................................................................... 9 Organization of Study ...................................................................................... 9 2 LITERATURE REVIEW ................................................................................ 11 Classical Piano Études ..................................................................................... 12 Classical Voice Études ..................................................................................... 14 Jazz and Contemporary Études ........................................................................ 22 Voice Pedagogy ............................................................................................... 28 Summary .......................................................................................................... 35 3 METHODOLOGY .......................................................................................... 37 Voice Teacher Survey ...................................................................................... 39 Helpful Exercises from Voice Technique Resources ...................................... 44 Breath ......................................................................................................... 45 Agility ........................................................................................................ 50 Registration ................................................................................................ 55 Additional Technical and Musical Concepts ............................................. 61 Summary .................................................................................................... 65 Compositional Method..................................................................................... 65 Summary .......................................................................................................... 67 4 COMPOSITION OF ORIGINAL ÉTUDES .................................................. 68 Étude No. 1 – “Come Home” (breathing) ........................................................ 69 Étude No. 2 – “The Clouds” (registration) ...................................................... 71 Étude No. 3 – “Each End” (onsets, tone) ......................................................... 73 Étude No. 4 – “Field and Stream” (agility) ...................................................... 75 Harmony and Form .......................................................................................... 78 Lyrics .............................................................................................................. 80 Vocal Exercises Derived from Études ............................................................. 81
vi
5 CONCLUSIONS ............................................................................................. 83 Further Research .............................................................................................. 87 APPENDIX A – Four Advanced Jazz and Contemporary Voice Études…………… 90 APPENDIX B – Private Teacher Survey…………… ................................................. 119 APPENDIX C – Complete Survey Results…………… ............................................. 122 REFERENCES…………… ........................................................................................ 133
vii
LIST OF EXAMPLES
Page Example 1.1. “Breath Renewal” ........................................................................................46
Example 1.2. “Quick Renewal” .........................................................................................47
Example 1.3. “Renewal in Brief and Long Phrases” .........................................................48
Example 1.4. “Messa di voce” ...........................................................................................48
Example 2.1. “Accented Runs” .........................................................................................50
Example 2.2 “Runs or Divisions (Two Variations)” .........................................................51
Example 2.3 “Pentatonic Sixteenths” ................................................................................52
Example 2.4 “Turn” ...........................................................................................................53
Example 2.5 “Minor Pattern 1” .........................................................................................53
Example 3.1. “Developing Lower Range” ........................................................................56
Example 3.2. “Medium to Chest” and “Head to Medium” ................................................57
Example 3.3. “Blending Head to Chest, Descending Blues Scale” ...................................58
Example 3.4. “Inducing Head Mixture in Middle Voice” .................................................58
Example 3.5. “Even Registration in Upper and Middle Voice” ........................................59
Example 3.6. “Registration Coordination” ........................................................................60
Example 4.1. “Portamento” ...............................................................................................62
Example 4.2. “Sostenuto with Onsets” ..............................................................................63
Example 4.3. “Range Extension” .......................................................................................64
Example 4.4. “Registration and Dynamics” ......................................................................64
1
Chapter 1
INTRODUCTION
The pedagogies of jazz and contemporary music are newer than classical music,
thus there are comparatively fewer jazz and contemporary teaching resources available or
widely known.1 The materials that are currently available to jazz and contemporary
teachers and students are often principally concerned with describing the basic elements
of style, technique, musicianship, and practical elements of modern performance. These
resources often deliver information in prose, not through practical musical examples––the
assumption perhaps being that the vast canons of jazz and contemporary repertoire
available serve as sufficient teaching resources for most students and instructors. Tools
for finding and learning contemporary repertoire have increased exponentially since the
early 2000s. This is likely due to the propagation of sheet music and lyric websites,
mobile applications, and video and audio streaming services. Despite these modern tools,
solo jazz and contemporary repertoire is often still not labelled or organized by technical
challenge or developmental level. Filters for technical concepts (e.g., registration,
resonance, and breath support) or musical concepts (e.g., phrasing or dynamics) are not
currently available. In this area, these resources lag behind the relative clear stratification
and organization common to classical music. Through both formal and informal means,
the correlation of the technical requirements of repertoire selections in classical voice
teaching is understood more clearly. Commonly, jazz and contemporary voice teachers
1 Jazz pedagogy in its current form is thought to have begun in higher education in the 1970s at
what is now known as the University of North Texas, though the Berklee College of Music claims that in 1945 it started the first “college level school… where jazz is the basis of the curriculum.” David Baker (1983). Jazz improvisation: A comprehensive method for all musicians. (2nd ed.). California: Alfred Publishing Company; Berklee College of Music website, www.berklee.edu (2019).
2
make repertoire choices based on style or genre (e.g., swing, Latin, pop, rock, etc.),
tempo, harmonic, melodic, rhythmic complexity, artist, or historical era––often
attempting to survey as much of the field as possible for their students.2 Although a more
robust cataloguing of repertoire in these styles would be of great help to teachers, that is
not the intent of this document.
As music educator Robert Duke and others have observed, pedagogical practices
derived from the intention of artistic expression are often more effective for students and
teachers.3 The étude, or study as it is sometimes called, is a pedagogical tool that can also
serve an artistic end. The étude is a short work often intended to focus on one or more
technical or musical facets of performance, or in some cases emphasize one or more
aspects of a composer’s aesthetic.4 Possible benefits of the étude for students include
varied opportunities for practical application of skills, distinctive and engaging technical
challenges, creative artistic expression, and clear progressive organization based on
technical concept or level of musicality.
Additionally, there are potential benefits for teachers who compose studies for
their students. Instructor-composers may have a better understanding of the needs and
abilities of their students, and therefore the études or other instructional materials written
from this perspective may be more helpful.5 There is also the potential for additional
income for the instructor-composer which may come from composing and publishing
2 Unlike classical voice instruction, language is not often a concern in contemporary or jazz
singing, with a few exceptions (e.g., Portuguese in jazz). 3 Robert Duke, Intelligent Music Teaching: Essays on the Core Principles of Effective Instruction
(New York: Learning and Behavior Resources, 2009). 4 Howard Ferguson and Kenneth L. Hamilton, “Study” (Grove Music Online, 2019). 5 Michele Kaschub and Janice P. Smith, “Embracing Composition in Music Teacher Education.”
In Composing our Future: Preparing Music Educators to Teach Composition (Oxford Scholarship Online, 2013).
3
educational resources. Taking part in the shared artistic process can be inspirational for
both teachers and their students. Teachers who more often take part in the artistic process
draw from a more vibrant compendium of experiences. And, when teachers compose
directly for their students, the product of this artistry is delivered with all of the insight
and context available in this interaction without an intermediary.6 The instructor-
composer is also able to quickly and clearly assess their work both artistically and
pedagogically, and, if needed, make modifications to better suit the student or achieve the
desired outcome. Additionally, the legacy of a successful instructor-composer may
potentially last longer and serve a broader base of students than a non-composing
instructor. This legacy is illustrated by the instructor-composer careers of Concone,
Marchesi, and Vaccai––all composers turned teachers who are now known not for their
operas but for their voice studies. Similarly, vocal pedagogues like William Vennard,
Richard Miller, Oren Brown, Jeanie LoVetri, and Kenneth Bozeman, will perhaps not be
remembered for their musical performances or any one successful student, but by the
efficacious vocal pedagogy texts that are widely utilized to teach the physiology,
mechanics, and art of singing.
The research presented in this document has informed the composition of four
voice études. The goal of composing new vocal études is to authentically express the
author’s ideas, emotions, and style of singing and composition, while also providing
technical and musical challenges that are appropriate for student’s and teacher’s goals in
these areas. Research presented here consists of a survey of notable études and studies
(both instrumental and vocal, predominantly focused on jazz and contemporary music), a
6 Rob Deemer, “Reimagining the Role of Composition in Music Teacher Education,” National
Association for Music Education (2016): 41-45.
4
compilation of technical concerns described in the most widely used voice pedagogy
resources, and a survey of college-level applied voice teachers currently teaching jazz
and contemporary voice in the United States.
In addition to the compositional goals mentioned above, the études for this
document also emphasize formal and lyrical characteristics that will make the songs
appropriate for performance. Therefore, these études will serve a pedagogical end from a
different departure point than many repertoire choices. Here the technical and musical
goals are explicit from the start of composition and carefully chosen in order to
encourage growth. Clarity to this degree can help both novice and advanced students, and
the added performance aspect of the études may lead to greater interest, a longer arc of
engagement, and a concrete sense of purpose.
It is difficult to define what makes a song appropriate for performance. This is a
choice that is to be made by teachers and students. However, for the sake of this
document the author has made the assumption that a song is appropriate for performance
if it compares favorably to canonic7 jazz and contemporary repertoire in the following
ways: lyrical content (form and length), form or song structure, melodic complexity (i.e.,
not overly repetitive, step-wise, or derivative of common technical exercises like scales
and arpeggios), rhythmic variety, and harmony. In order to reach the widest possible
audience and allow for the highest degree of individual expression, these études have
been written with multiple possible interpretations or stylistic choices in mind. The
decision to not confront the topic of style has also limited the scope of this document and
7 Canonic is defined by Grove Dictionary as “a term used to describe a list of composers or works
assigned value and greatness by consensus.”
5
clarify the intent of the études.8 The four original études and their supporting materials
can be found in Appendix A.
The need for thoughtful teaching materials in the areas of jazz and contemporary
voice is significant, and the potential dual purpose of creating expressive works that are
also pedagogically thoughtful is an attractive proposition. In addition to the creation of
four new vocal études, the results of this essay include: a survey of teaching materials
currently available in this field (and potentially best practices for using these tools in
applied voice lessons), a better understanding of the needs of vocalists and their
instructors, and the creation of a template or reproducible format for future étude books
or collections of studies (either newly composed or chosen from the standard repertoire).
Again, the relative lack of teaching materials for jazz and contemporary vocalists is an
opportunity for a composer with pedagogical knowledge to make substantial
contributions to the field.
Justification for Research
As discussed above, études are much less common in jazz and contemporary
music, though there are notable collections written since the 1990s which generally tend
to focus on technical skill building for use during improvisation.9 Few of these
compositions are suitable or intended for performance, as are the piano études of the 19th
8 Improvisation, interpretation, and style are all possible areas for further development of this
material. 9 John Turpen, “An Annotated Bibliography of Selected Jazz Saxophone Études Published
between 1960 and 1997” (PhD diss., University of Georgia, 1999).
6
century.10 For the contemporary vocalist, the selection of études is even more limited.
There has been little scholarship on études or studies in jazz or contemporary music,
either from a pedagogical or compositional perspective.
Lastly, the study of technique can prove uninspiring or even monotonous to
students––particularly for younger students or those with short attention spans. In
addition, valuable lesson time can often be dedicated to the sometimes tedious process of
selecting repertoire. Perhaps rightly so––selecting a piece that is appropriate for a
student’s current level of technical and musical achievement, while allowing for each
student’s personal artistic expression is a challenge. This task is growing increasingly
difficult for instructors in the fields of jazz and contemporary music. Instructors in these
fields are expected to identify and curate for their students a broad program of stylistic
and historically diverse music that is continually growing.11 And at the same time, the
pedagogies of jazz and contemporary music are relatively new––as is the library of
études and teaching resources that a student or teacher of these genres has at their
disposal. This relative lack of teaching materials for jazz and contemporary vocalists is an
opportunity for a composer with pedagogical understanding to make notable
contributions to the field. The study described here hopes to take a step towards serving
this growing audience and develop a model for future expansion.
10 Michelle Weir, Vocal Improvisation (Rottenburg: Advance Music, 2001).; Bob Stoloff, Scat!
Vocal Improvisation Techniques (London: Music Sales Ltd, 1998).; Rosana Eckert, Singing with Expression: A Guide to Authentic & Adventurous Song Interpretation (New York: Hal Leonard, 2018).
11 A songbook, or repertoire, in jazz and contemporary music that is growing exponentially by the day.
7
Purpose of this Study
The purpose of this study was to develop new technical études for the advanced
student of jazz and contemporary voice. These pieces have been inspired by études in
other genres and informed by expert resources in vocal technique and prominent jazz and
contemporary voice instructors. Beyond this study, research completed here will serve as
the basis for further development of additional pedagogical resources. Furthermore, it is
likely that the survey of instructors included here, and the publishing of this essay, will
raise awareness of the history and pedagogical uses of the étude.
Research Questions
Specific research questions to be address by this study include:
1. What can be learned about the composition of new jazz and contemporary voice études
from those currently available?
2. Which technical goals should advanced vocal études address?
3. How should vocal études be formatted or organized?
8
Definition of Terms
Contemporary music: music performed and created with what is rhythmically, harmonically,
and texturally current.12 Its genres would include (but are not be limited to) blues,
country, electronic/dance, experimental, folk, funk, hip-hop, jazz, metal, pop, rock, roots,
and world.
Étude: a short work intended to focus on one or more technical or musical facets of
performance. In some cases, these compositions also demonstrate the composer’s
aesthetic. Also known as a “study,” or, in classical vocal music, a “vocalise.”
Jazz music: an American musical artform first developed in the 20th century. The process of
improvisation, or spontaneous composition, is central to this music.13 Jazz as a style is
“characterized by syncopation, melodic and harmonic elements derived from the blues,
cyclical formal structures and a supple rhythmic approach to phrasing known as swing.”14
Melismas: a group of notes sung to one syllable of text. Commonly referred to as “turns” in
classical music,” or “digital patterns,” “runs,” or “riffs” in jazz and contemporary music.
Onset: initial vocal sound. The three categories of vocal onsets are glottal, aspirate, and balanced
(or coordinated).
Register: a vocal register is a “series of consecutive pitches that have a similar tone quality and
are produced using the same muscular actions of the vocal mechanism.”15
Vocalise: A textless vocal exercise or concert piece to be sung to one or more vowels.16
12 John Mirisola, “What is Contemporary Music” (Berklee College of Music Website, 2019).
Accessed March 12, 2020. 13 Leonard Feather, The New Edition of the Encyclopedia of Jazz: Completely Revised, Enlarged
and Brought Up to Date (New York: Bonanza Books, 1962). 14 Mark Tucker and Travis A. Jackson, “Jazz” (Grove Music Online, 2001). Accessed December
14, 2019. 15 Anne Peckham, The Contemporary Singer (Boston: Berklee Press, 2000), 49. 16 Owen Jander, “Vocalise” (Grove Music Online, 2001).
9
Delimitations
For the purposes of this essay the author has limited the development and
composition of these four advanced jazz and contemporary études to vocal technique.
Musical style, improvisation, and interpretation have all been purposely excluded from
this discussion. Additionally, the études developed for this project have been written with
only the advanced student in mind. These decisions are not reflective of any bias in favor
of technique over any other element of music or the advanced student over any other
level of student. Instead, care has been taken to focus the research and pedagogy included
herein.
The survey portion of this study is a cross-sectional study and therefore relies on
the opinions and observations of professionals in the field. It is meant to be a basis for
further research. According to the analysis of the Human Subject Research Office of the
University of Miami, this study did not constitute human subject research requiring IRB
review. The author hopes that this study will stimulate discussion and lead to a better
understanding of how the étude can be used in the study of jazz and contemporary voice
technique.
Organization of Study
Chapter one discusses the background and the need for the study, the purpose,
research questions, and defines the terms used in the study. Chapter two consists of a
literature review that further defines the étude and discusses the history of the
composition and pedagogical uses of piano études, notable classical voice études, notable
études in the jazz and contemporary genres, and commonly used voice technique
10
resources. Chapter three further outlines the research method, summarizes practical
information derived from the selected voice technique resources, and details the process
and findings of the voice teacher survey. Chapter four documents the process of
composing the four études included here and describes the content and formatting of the
related pedagogical resources. Chapter five is a review of the purpose and methods
described above. This final chapter also includes recommendations for the further
composition, and possibly collections, of études.
11
Chapter 2
LITERATURE REVIEW
This chapter reviews études and similar pieces available in instrumental and vocal
classical, jazz, and contemporary music, as well as voice pedagogy literature as it pertains
to the technical development of the voice. In Western music since at least the 18th
century, the étude has served as both a valuable instructional device and a unique form of
creative compositional expression.17 Also referred to as a study, exercise, or vocalise,18
these works focus on a specific technically or musically challenging aspect of
performance. In some cases, these works also reveal unique characteristics of a
composer’s aesthetic. The title, style of formatting, or organization of an étude often give
a general impression regarding the composer’s intended technical or musical goal. For
example, studies laden with instructional information are often intended principally for
the practice room, not the concert hall (and vise-versa). The benefits of the dual function
of studies rich with both pedagogical and performance opportunity have been discussed
directly and indirectly by scholars of music education.19 Possible benefits of this dual
function include increased motivation and long-term efficacy.
Compared to classical music, the pedagogies of jazz and contemporary20 music
are fairly new, as are the libraries of études that a student or teacher of these genres has at
their disposal. Scholarship concerning vocal études or études in a jazz or contemporary
17 Howard Ferguson and Kenneth L. Hamilton, "Study" (Grove Music Online, 2019). 18 Vocalise is not to be confused with vocalese, the practice in vocal jazz of composing lyrics to a
previously recorded instrumental improvisation. 19 Edwin E. Gordon, Learning Sequences in Music: A Contemporary Music Learning Theory
(New York: GIA Publications, 2012). 20 Contemporary is a commonly used catch-all term for western pop, rock, folk, etc. Also know as
CCM, or contemporary classical music.
12
style is also significantly more limited, particularly when compared to classical piano
music.21 The exceptions to this are noted below, along with a brief survey of some of the
more popular classical études in piano and voice. The history and legacy of classical
piano études have been explored in a number of other scholarly papers and are only
briefly mentioned here in order to indicate their role in popularizing and developing the
form.
In order to better define the technical aspects of singing and categorize each
étude, commonly used vocal pedagogical resources are reviewed below. Many of these
resources are used as textbooks or supporting materials in collegiate voice pedagogy
courses. This section of the review concludes with a brief discussion of the most critical
technical concepts agreed upon by the scholars reviewed. Along with additional research,
including a survey of current voice instructors, this list has directed the composition of
new études.
Classical Piano Études
The étude is commonly associated with the study of classical piano, though études
have been composed or adapted for many instruments.22 Still prevalent among
performers, teachers, and scholars, the piano études of the 18th and 19th centuries are
often widely available in print and have been explored in a number of scholarly articles
and essays. Angelina Ngan-chu Au’s thesis from 1999 focuses on the genesis of the piano
21 Michael John Johnson, “An Instructional Approach for a University Jazz Vocal Improvisation
Course Sequence Incorporating Jazz Theory, Ear-Training, and Keyboard” (PhD diss., University of Miami, 1999).
22 Howard Ferguson and Kenneth L. Hamilton, “Study” (Grove Music Online, 2019).
13
étude from “acquisition of facility to demonstration of virtuosity and finally to
compositional character piece.” She writes that the most immediate predecessors to
modern étude can be traced to the 18th century exerzitie (exercise), “a technically and
mechanically oriented finger exercise which aims to equip keyboard students with an
essential facility,” and handstuck (a teaching piece), usually from larger collections that
share the “pedagogic intent of providing a graded course of study for piano students.”23
The artistic and virtuosic aspects of the modern étude began to develop around the
1840s in the city of Paris, where composers like Liszt, inspired in part by the technical
brilliance of violinist Paganini, began to use extreme mechanical feats to dazzle their
audiences.24 In order to keep audiences up to speed with their own virtuosity, composer-
pianists turned to composing études, which Au states had the dual purpose of “(1) concert
repertoire––études demanding of a virtuosic technique for concert pianists to cause a
sensation at performances, and (2) practice repertoire––études of moderate difficulty for
the growing number of amateur pianists to use as tools to develop their technical
facility.”25
This period saw the transformation of the étude from didactic keyboard exercises
to major works of art, primarily through the works of three pianist-composers, the
aforementioned, Franz Liszt (1811-1886), along with Robert Schumann (1810-1856), and
Frederic Chopin (1810-1849). Chopin’s Op. 10 études in particular represent the
evolution from the attainment of facility to a demonstration of both virtuosity and
23 Angelina Ngan-chu Au, “The Piano Étude in the Nineteenth Century: From the Acquisition of
Facility to Demonstration of Virtuosity” (PhD diss., University of Cincinnati, 1999), 4-10. 24 Ibid., 6. 25 Ibid.
14
musicality and are most certainly intended for performance.26 Like his predecessors,
Chopin’s études are each devoted to particular pianistic problem. In her essay, Au notes
that “it was through [Chopin’s] ingenious use of these musical and technical figurations
as vehicles for expressing a deeper musical conception that he successfully transformed
these short didactic keyboard pieces into ‘giant works of art’ while retaining their
pedagogical function.” The études of Chopin, Liszt, and others in the mid-19th century
signify a zenith in the composition and performance of piano études.
This compositional practice continued well into the 20th century, where major
composers such as Claude Debussy (1862-1918), Alexander Scriabin (1872-1915), Serge
Rachmaninov (1873-1943), Igor Stravinsky (1882-1971), and Bela Bartok (1881-1945)
reestablished the étude as a genre of significance for technical and artistic development.
“Demonstrating all the characteristics of the various composers' compositional styles,”
Au argues, “these études are also useful as a key to gaining a better understanding of the
respective composers' unique musical styles.”27 For all of the composers mentioned here,
and many not mentioned, the étude has served as a critical form of musical expression.
Classical Voice Études
Études have also been used in classical voice study since at least the early 18th
century. It was the 19th century, however, which saw the beginnings of serious scientific
research on the voice and the ascension of a staggering number of influential voice
teachers. This period unsurprisingly also produced the largest wealth of voice étude
26 Ibid., 24-25. 27 Angelina Ngan-chu Au, “The Piano Étude in the Nineteenth Century: From the Acquisition of
Facility to Demonstration of Virtuosity” (PhD diss., University of Cincinnati, 1999), 91-92.
15
collections.28 These collections of “melodies without words” offered the student a “union
of all the difficulties of song.”29 Many of the texts these teachers published during this
time are still in use today. Notable resources among these include Nicola Vaccai’s (1790-
1848) Practical Method, Giuseppe Concone’s (1801-1861) Fifty Lessons for the Medium
Part of the Voice, Opus 9, Heinrich Panofka’s (1807-1887) Progressive Vocalises, Opus
85 and 86, Francisco Lamperti’s (1813-1892) The Art of Singing, Mathilde Marchesi’s
(1821-1913) Bel Canto: A Theoretical & Practical Vocal Method, Ferdinand Sieber’s
(1822-1895) Thirty-Six Eight-Measure Vocalises, and Salvatore Marchesi’s (1822-1908)
Twenty Elementary and Progressive Vocalises. In many cases these teacher-composers
knew and learned from each other. Together they amassed a wealth of valuable voice
resources.
In a letter postmarked in 1851 the composer Gioachino Rossini paid tribute to his
fellow Italian Nicola Vaccai as a teacher and composer “in whom sentiment was allied to
philosophy.” Yet as an opera composer Vaccai is considered an “honorable failure.”30
Teaching served both as his primary source of income and the central component of his
artistic legacy. First published as Metodo pratico di canto italiano per camera (London,
1832), Vaccai’s Practical Method is a collection of fifteen lessons categorized both by
musical subject matter and technical goal.31 The objectives range from mastery of
intervallic melodic shapes (of a third to an octave), to a concentration on syncopation,
and later melodic runs and appoggiaturas. Vaccai’s lessons are not only an excellent
primer for the amateur, but with the inclusions of studies on topics such as “recitative”
28 Jonathan Greenberg, “Singing” (Grove Music Online, 2014). Accessed January 27, 2020. 29 Manuel Garcia, Hints on Singing (New York: E. Schuberth & Co, 1894). 30 Julian Budden, “Vaccai, Nicola” (Grove Music Online, 2001). Accessed January 27, 2020. 31 Ibid.
16
and “recapitulation” they are a “valuable document for the study of 19th century
performing practice.”32 Vaccai’s short (usually sixteen measures or less) études are
published with both Italian and English lyrics, full piano accompaniments, and technical
notes.33
Fifty Lessons for the Medium Part of the Voice, Opus 9 by the Italian singing
teacher Giuseppe Concone (1801-1861) is another popular étude collection among voice
instructors. Following a brief career as a singer, Concone focused entirely on teaching
and became “one of the most influential singing instructors of his time.” From 1837 to
1848 he taught in Paris, where he published many books of vocal exercises, some of
which are still in use.34 Concone’s collection is not organized in a progressive way, nor
are they set with lyrics or syllable suggestions, as are Vaccai’s Practical Method. The
Fifty Lessons include piano accompaniment and are of varied length. They cover a wide
range of musical and technical concepts, including long legato phrase lengths,
intervallically and rhythmically varied melodic structures, portamentos, melismatic
figures, and large dynamic contrasts or messa di voce.35
German singing teacher, violinist, composer, and critic, Heinrich Panofka’s
(1807-1887) progressive vocalises were “enormously influential in Europe and America
during the second half of the 19th century,” and are still available in modern editions.36
They are not labeled in terms of musical or technical concept, therefore the progressive
nature of the studies must be inferred. The vocalises of Opus 85 and 86 proceed from
32 Ibid. 33 Nicola Vaccai, Practical Method (London, 1832.) 34 Elizabeth Forbes, “Concone, Giuseppe” (Grove Music Online, 2001). Accessed January 15,
2020. 35 Giuseppe Concone, Fifty Lessons for the Medium Part of the Voice, Op. 9 (New York:
Schirmer, 1892). 36 Albert Mell, “Panofka, Heinrich” (Grove Music Online, 2001). Accessed January 27, 2020.
17
initial scaler passages with medium phrase length to melodies with larger and more
varied intervallic leaps, increasing rhythmic complexity, portamentos, melismatic figures,
and large dynamic contrasts or messa di voce. All of Panofka’s vocalises include piano
accompaniment, but lack lyrics or syllable suggestions. Their length, from the longest at
fifty-two (52) measures to the shortest at twenty-four (24), is common among many of
the other vocal étude collections reviewed here.37
Francisco Lamperti (1813-1892), yet another Italian singing teacher born around
the start of the 19th century, published The Art of Singing hoping to “avert the ruin of
voices and to obtain happy and fruitful results for those who devote their attention to
vocal music.”38 He closes his treatise on singing with four études, or solfeggi as he calls
them. These studies are “not progressive, but written to give the pupil an idea of the
modern style; leaving to the judgement of the master the option of either choosing from
them that one which he may consider most adapted to the voice and capabilities of his
pupil, or else of keeping to those solfeggi which so many famous masters have already
written.”39 It is unclear if Lamperti intended these vocalises to literally be sung on solfege
syllables. Only the first of the four includes syllables, along with an alternate version that
replaces the syllables with portamento slurs. Compared with those from Vaccai and
Concone, Lamperti’s vocalises are more varied and musically complex. They are also
significantly longer, averaging at least sixty (60) measures each. Except for the omission
of lyrics, they are fashioned after arias or art songs of the time period. They include piano
37 Heinrich Panofka, 24 Progressive Vocalises, Op. 85-6, (New York: G. Schirmer, 1900). 38 Francesco Lamperti, The Art of Singing (New York: G. Schirmer, 1890), 8. 39 Ibid., 48.
18
accompaniment and a substantial number of performance instructions (i.e. tempo
markings, dynamics, etc.).40
Bel Canto: A Theoretical & Practical Vocal Method, by the voice teacher and
mezzo-soprano Mathilde Marchesi, is an educational work that includes exercises and a
“series of Elementary and Progressive Vocalises for the formation of the mechanism of
the voice.”41 Similar to Vaccai’s Practical Method, these sixteen vocalises are organized
primarily in musical terms (e.g., “Diatonic scale,” “Arpeggi,” and “Syncopation”) not by
technical concept. An initial “Practical Guide for Students” describes many of the
fundamentals of vocal technique and is followed by the first part of the text, which breaks
each concept down into two (2) to eight (8) measure exercises. Her intention is to assist
students in overcoming obstacles by focusing on one element at a time in a “natural and
progressive order.” Marchesi goes on to say that she believes “it is essential that the
mechanism of the voice should be trained to execute all possible rhythmical and musical
forms before passing to the aesthetical part of the art of singing.”42 The separation of
music forms and aesthetics is clearly demonstrated in Marchesi’s vocalises. They are
approximately as long as short art songs, but with a methodical focus on one melodic
shape, and a lack of lyrics, they are not intended for performance.
Mathilde Marchesi’s husband, Salvatore Marchesi (1822-1908), who himself was
an Italian baritone and singing teacher, published his own book of études, Twenty
40 Ibid., 48-62. 41 Mathilde Marchesi, Bel Canto: A Theoretical & Practical Vocal Method (New York: Dover,
1970). 42 Ibid., Preface.
19
Elementary and Progressive Vocalises.43 Salvatore was a student of Lamperti and
Garcia’s, and their influences are clear in both the structure and content of this collection.
Thirty-Six Eight-Measure Vocalises for Elementary Vocal Teaching (op. 92-7),
written by Austrian singer and teacher, Ferdinand Sieber is organized by technical
concept and features short, musically varied, studies for all major voice types.44 There are
six unique editions, one for each voice type (e.g., soprano, alto, bass, etc.). Each vocalise
includes written piano accompaniment along with two versions of syllable suggestions––
damenization and classic solfege. Damenization is a system of solmization devised by the
German composer and singing teacher, Carl Heinrich Graun. In damenization, the major
scale is given the syllabic names da, me, ni, po, tu, la, be, (da). 45 These syllables are
relatively common in vocal exercises and are presumably used here to simulate the
performance of text with clear, easy to read and sing, syllables.
By widening the search for materials beyond the étude to include a broader
definition of vocalise, there are additional materials available for consideration. A
vocalise is a song devoid of lyrics either for use in concert or as a technical study,
sometimes written by artists who consider themselves composers, not teachers of
singing.46 The vocalise has taken two primary forms. One from the early 19th century,
when it became customary to perform and publish exercises and sofeggi with piano
accompaniment. The other form developed in the tradition of highlighting unique
43 Elizabeth Forbes, “Marchesi family (opera)” (Grove Music Online, 2002). Accessed January 27,
2020. 44 “Sieber, Ferdinand” (Grove Music Online, 2002). 45 Bernarr Rainbow, “Damenization” (Grove Music Online, 2001). Accessed February 2, 2020. 46 Kathryn Susan Chilcote, "The vocalise art song" (PhD diss., University of Oregon, 1991).
20
problems that naturally occurred within existing. Instructors would then remove the lyrics
of the song and add specific instructions as to how these problems were to be solved.47
As a compositional form, the vocalise first became popular in France, with
Gabriel Fauré’s (1845-1924), Vocalise-étude and Maurice Ravel’s (1875-1937) Vocalise-
étude en forme de habanera, being among the most notable. Perhaps the most frequently
performed works of this kind are Serge Rachmaninoff's (1873-1943) Vocalise, op. 34 no.
14 (1912), and Ralph Vaughan Williams’s (1872-1958) Three Vocalises for soprano and
clarinet (1958).48 In addition to the voice, many of these compositions have also been
performed and recorded by wind and string instruments.
The technical goal of vocalises written by those other than voice teachers can
often be opaque. It is not common for vocalises by composers such as Fauré, Vaughan
Williams, or Igor Stravinsky (1882-1971) to be organized or identified by the technical
objective of the vocalise, as it is with the studies by Vaccai, Marchesi, Sieber, and others.
Therefore, the intent of the composer in this regard is left up to the interpretation of the
artist or the voice teacher. However, these compositions do offer the rare opportunity for
solo vocalists to study and perform works by composers who did not generally focus on
solo vocal repertoire.
The wordless aspect of the vocalise is worth considering––there is debate as to
whether or not singing on vowels alone is more advantageous for developing technical
mastery. Many vocal exercises commonly used by instructors employ pure vowels, not
lyrical phrases. One of the benefits for studying Italian literature, particularly with
beginning students, is the purity of the vowels present in the Italian language. Many
47 Owen Jander, “Vocalise” (Grove Music Online, 2001). Accessed February 2, 2020. 48 Ibid.
21
argue that this purity of vowel aids in the development of a balanced vocal tone.49 This
argument, however, must be reconciled with the fact that the majority of vocal music is
sung with lyrics. In fact, the opportunity for expression presented by the performance of
lyrics is a significant appeal to listening to and performing vocal music. Thus, the student
of voice cannot perpetually avoid the performance of lyrics. But learning to sing, as with
other things, is a process with multiple steps. The potential benefits of both options
(lyrics and no lyrics) are therefore explored over the course of this study.
A somewhat different sort of resource must also be mentioned here due to its
prominence in the studios of classical voice instructors, one which arguably serves a
similar purpose to the étude: the Twenty-Four Italian Songs and Arias of Seventeenth and
Eighteenth Centuries. This ubiquitous collection of opera arias and other Italian songs is
known for its “tuneful, easy to learn, varied songs” that “encourage good vocal
production with their graceful lines and pure vowels.”50 Though these pieces are
generally limited in range (most a ninth or less) and in lyrical content (at least half
contain no more than two complete sentences), the musical themes included the Twenty-
Four Italian Songs are developed fully enough to be convincingly performed. In addition
to the potential technical benefits of studying and performing these songs, according to
musicologist Eric Street, they also offer a “link to a style and era far removed from our
own” by sampling many of the most successful pieces from the early period of opera.51
49 Richard Miller, The Structure of Singing (New York: G. Schirmer, 1996). 50 Eric Street, “Exploring the History of ‘Twenty-Four Italian Songs and Arias,’” American Music
Teacher 37, no. 1 (1987): 29. 51 Eric Street, “Exploring the History of ‘Twenty-Four Italian Songs and Arias,’” American Music
Teacher 37, no. 1 (1987): 31.
22
Though not études in the purest sense, this collection is worthy of being mentioned here
as a similar, commonly used learning reference.
Briefly described above are the various approaches to the classical voice étude,
study, or vocalise. Where some composers have been primarily interested in the musical
aspects of a piece, others appear to have been focused primarily on technical concerns.
The piano étude, with its well-defined constructs and ability to present consistent
physical challenges for the pianist, is model of excellence in the genre. Composers in this
field have been adept at producing compositional ideas that address specific technical
problems, while also creating engaging works for performance.52 Teacher-composers of
vocal works have been equally interested in creating repertoire with focused, progressive
technical challenge, with perhaps less success or concern in the area of artistic
expression. Altogether, composers of the classical étude have set a standard that
consequent generations of composers continue to attempt to follow to varying degrees of
extent and success.
Jazz and Contemporary Études
Études are less ubiquitous in jazz, though some of the exceptions are mentioned
below. Jazz étude collections tend to focus on building rhythmic, melodic, and harmonic
language for use during improvisation. Noteworthy resources include, but are not limited
to, jazz pianists Oscar Peterson’s (1925-2007) Jazz Exercises and Pieces for the Young
Pianist and Armando “Chick” Corea’s (b. 1941) Children Songs, jazz saxophonists Bob
52 Stephen Weber, “Principles of Organization in Piano Études: An Analytical Study with
Application through Original Compositions” (PhD diss., Texas Tech University, 1993): 2.
23
Mintzer’s (b. 1953) 14 Jazz & Funk Études and Jim Snidero’s (b. 1958) Jazz Conception,
and jazz bassist and educator Dr. Lou Fischer’s (b. 1952) Stylistic Etudes in the Jazz
Idiom.53
It is important to note that for most jazz musicians the role of the étude is often
replaced by learning recorded improvised solos by ear, transcribing them, and sometimes
later performing the transcription. Snidero, in the introduction to his étude book Jazz
Conception says as much, “this book is not meant as a replacement for transcribing and
listening,” but instead, “a conceptual bridge to the masters.”54
One of the earliest and most ubiquitous examples of commonly performed solo
transcriptions is the Charlie Parker Omnibook––a collection of jazz alto saxophonist
Charlie Parker’s melodies, song forms, and transcribed solos in the bebop style.55 This
resource, along with the many “fake” and “real” books56 available for jazz and
contemporary students, serve much the same function as the Twenty-Four Italian Songs
mentioned above––these resources represent an opportunity to apply technical and
musical skill in a clearly comprehensible, historically and culturally authentic form.
Similarly, the well-known pianist Oscar Peterson’s early collection of jazz études from
1965 is an accessible introduction to his unique bebop influenced approach to melodies,
and is notable for its format.57 Each of Peterson’s etudes, of which there are ten in total,
53 John Turpen, “An Annotated Bibliography of Selected Jazz Saxophone Études Published
between 1960 and 1997” (PhD diss., University of Georgia, 1999). 54 Jim Snidero, Jazz Conception (Germany: Advance Music, 1999). 55 Charlie Parker, Omnibook (New York: Atlantic Music Corp, 1978). 56 The terms “fake book” and “real book” are largely interchangeable and are used to describe a
book that contains the melody, chord changes, and lyrics to standard songs in a particular genre. The main difference between the two terms is copyright: “real books” are legal publications of the songs and “fake books” exist from a time before such materials were available to musicians legally in such a form.
57 Oscar Peterson, Jazz Exercises and Pieces for the Young Pianist (Toronto: Ray Brown Music Limited, 1965).
24
coincides with a corresponding “jazz piece” that attempts to utilize the technical concept
developed in the preceding etude. In practice, the pieces are much more technically
difficult than the etudes, as they incorporate more syncopation and hand independence.
Peterson, somewhat unfortunately, omits in this text both any explanation as to the intent
of the etudes and chord changes in the pieces (which is a basic expectation for jazz
repertoire and helpful when improvising)––all of which would be helpful to the aspiring
jazz musician.
By contrast, Children’s Songs by pianist Corea, though not comprehensive in
terms of piano technique or fully representational of his compositional or improvisational
style, is intended for performance and used as a teaching resource in some piano courses
and applied studios.58 This collection of études is particularly notable for its expressive
potential, as it has been performed and recorded by the composer on multiple occasions.59
The jazz saxophone étude book 14 Jazz & Funk Etudes by Bob Mintzer is another
collection of studies that is clearly intended primarily for the development of
improvisational language, both melodic and rhythmic.60 This collection is significant for
the breadth of styles included and the balance of technical rigor and artistic quality. It is
conceivable that these études could be credibly performed, because the forms, melodies,
and harmonic structures in Mintzer’s text so closely resemble canonic jazz repertoire.
There are a number of exercise books for jazz vocalists that have been written
since the 1990s, most common among these are those written by collegiate teachers of
jazz voice. Those like Michele Weir’s Vocal Improvisation (2015) and Bob Stoloff’s
58 Chick Corea, Children’s Songs: 20 Pieces for Keyboard (New York: Schott, 1994). 59 Chick Corea, Children’s Songs, Recorded July, 1983, ECM 1267, 1994, compact disc. 60 Bob Mintzer, 14 Jazz & Funk Études (New York: Warner Bros., 1994).
25
Scat! Vocal Improvisation Techniques (1998) concentrate on improvisation, while
resources like Rosana Eckert’s Singing with Expression: A Guide to Authentic &
Adventurous Song Interpretation (2018) focus on developing interpretation and style.
These texts present a number of challenging melodic patterns and exercises; however,
they focus primarily on improvisational language and style, not direct technical
development of the voice. Furthermore, none of these compositions are likely suitable or
intended for performance.61 Darmon Meader’s self-published Vocal Jazz Improvisation:
An Instrumental Approach (2016) takes a broad approach to the subject of jazz singing,
but offers, in addition to basic concepts and skill building, studies that are noteworthy for
both their technical demands and artistic merit.62 All of the exercises and etudes included
in the book correspond to play-along and example recordings, which is an important
addition that many modern resources include.
For the contemporary vocalist, the selection of études is much more limited.63 The
texts that are available from the 1990s and 2000s seek to bridge the gap between classical
vocal technique and popular styles.64 Anne Peckham, Head of the Voice Department at
the Berklee College of Music, published Vocal Workouts for the Contemporary Singer in
2006 as a follow up to her text on the technique of contemporary singing, The
61 Michelle Weir, Vocal Improvisation (Rotenberg: Advance Music, 2001).; Bob Stoloff, Scat!
Vocal Improvisation Techniques (London: Music Sales Ltd, 1998).; Rosana Eckert, Singing with Expression: A Guide to Authentic & Adventurous Song Interpretation (New York: Hal Leonard, 2018).
62 Darmon Meader, Vocal Jazz Improvisation: An Instrumental Approach, Intermediate & Advanced Studies (New York: self-published, 2016).
63 Contemporary is a term widely used in higher education to describe popular or commercial music. Some schools call this contemporary commercial music, or CCM, while others describe it directly by genre (e.g., rock, pop, r&b, soul, etc.).
64 An example of one of these early texts: Pop/Rock Warm-Ups by Alan Billingsley and Roger Love, published by Belwin Mills in 1992.
26
Contemporary Singer.65 In her 2003 article in the National Association of Teachers of
Singing entitled “Vocalise Patterns for the Contemporary Singer,” Peckham states the
need for these materials, saying that “[a]s classically trained voice teachers increasingly
seek to address a broader repertoire and a wider range of pedagogical situations, new
techniques and approaches are needed.”66 In this article, she goes on to describe how the
pentatonic scale could be used to develop technique and style in the young contemporary
vocalist. Her 2006 text Vocal Workouts expands on this article, beginning with a lengthy
section discussing production of the vocal sound, with an emphasis on the unique aspects
of contemporary singing, such as belting and using a microphone. Six (6) exercises for
warming-up and fourteen (14) workouts for “strengthening the voice” follow, with
sections that touch on all of the primary areas of technical voice study: breath support,
tone production, agility, and improved range. The fourteen workouts are formatted as
short études (usually sixteen measures or less), each with a technical focus, and
occasionally a stylistic or genre specific goal in mind. The lyrics and chord progressions
in these études are possibly included in order to add interest and increase enjoyment to
the study of technique. But because of their short forms which do not correspond to
canonic popular music, these workouts are probably not suitable for performance.
Besides the fact that they represent some of the only étude-like exercises
published in the area of contemporary voice, another notable aspect of these workouts is
their formatting. Each includes an exercise explanation (including technical and musical
65 Anne Peckham, Vocal Workouts for the Contemporary Singer (Boston: Berklee Press, 2006).;
Peckham, The Contemporary Singer (Boston: Berklee Press, 2000).; Debra Greschner, "Bookshelf: ‘Vocal Workouts for the Contemporary Singer,’ by Anne Peckham." Journal of Singing 62, no. 5 (2006): 588-589.
66 Anne Peckham, “Vocalise Patterns for the Contemporary Singer,” Journal of the National Association of Teachers of Singing 59, No. 3, (Jan 2003): 215.
27
directions), general tips, the range of the étude for high and low versions, syllable
suggestions when no lyrics are present, and audio examples and accompaniments
available via online download code. Pedagogically and in terms of formatting, Vocal
Workouts serves as a strong model for future étude collections.67
In conclusion, although there are some well-known exercise books in jazz and
contemporary music, a majority of what is currently available focuses on developing
improvisation and style, not technique (the focus of this study). It may be argued that
these two important musical elements are what differentiate jazz and contemporary music
from classical music. Therefore, they are perhaps much more critical areas for
publication. However, this argument ignores the following three important
considerations. First, it assumes that the fundamental technique involved in all of these
genres of singing is similar enough to be covered by the well-established technical
training offered by the exercises and repertoire of classical study. Though any
professional vocalists (much less the casual listener) who has attempted to crossover
between these genres can tell you how distinct and varied the application of technique
can be. Secondly, there are significant differences between classical, jazz, and
contemporary music in terms of form (both compositionally and in notation), harmony,
rhythmic pulse or groove, melodic structure, and lyrical approach. Finally, and critical to
this study, the teachers of jazz and contemporary music styles can come from vastly
different backgrounds and have exceptionally different needs and skills.68 In particular,
67 In the National Association of Teachers of Singing review of Peckham’s book, the reviewer
illustrates one of the goals of this project, while also perhaps exaggerating or showing bias towards classical study, by saying, “Singers of contemporary music are usually more reluctant to vocalize than their classically trained counterparts. Their hesitancy is often due to a lack of understanding of the importance of vocal exercises, and an inability (due to insufficient musicianship skills) to vocalize independently.”
68 Accompaniment is notable to mention here. Some voice teachers in contemporary styles are able to play written piano music, while many are much more comfortable reading chord symbols.
28
jazz and contemporary instructors may be aided in their effort to further legitimize or
develop their profession by continuing to increase the thoughtful, academically rigorous,
artful materials at their disposal.
Voice Pedagogy
The purpose of including a survey of voice pedagogy texts in this study was to
provide context and relevance for the technical and musical concepts studied in the
original voice études composed for this project. Specific examples of helpful vocal
exercises are discussed in more length in the associated section of the methodology
chapter below. A majority of the resources included here go further than describing the
physiology and mechanics of the voice by providing practical examples or exercises for
developing vocal skill. Many of these resources are widely used as textbooks or
supporting materials in collegiate vocal pedagogy courses. And although some
controversies remain regarding the principal technical solutions, the leading scholars in
the field are largely unified in identifying the common voice challenges. These technical
challenges are primarily breathing, registration, tone, agility, resonance, articulation, and
muscle tension.
Along with Mathilde Marchesi’s (1821-1913) Bel Canto: A Theoretical &
Practical Vocal Method, which was briefly covered in the section above regarding
classical voice études, Manuel Garcia’s (1806-1906) Hints on Singing, Francisco
Lamperti’s (1813-1892) The Art of Singing, and William Vennard’s (1909-1971)
Singing: the Mechanism and the Technic set the standard for many subsequent voice
pedagogy texts. All of these include a multitude of example exercises, each with
29
descriptions and directions where needed––much of which was described in further detail
above. And, all of these resources also include detailed discussions of the fundamental
technical concerns of singing, including but not limited to breathing, attack (or onsets),
tone, registration, resonance, articulation, and coordination.
Each author presents this material in their own fashion. Marchesi sets out to
briefly discuss the central elements of singing before putting forth a program of short
exercises that are later developed into longer vocalises. Manuel Garcia II, yet another
notable Italian voice teacher and son of famed tenor Manuel Garcia I, published his
Traité complet de l’art du chant or Hints on Singing, between 1840 and 1847.69 This text,
like Lamperti’s The Art of Singing, is formatted in a question and answer style, with
many of the answers accompanied by musical examples. The Art of Singing starts with a
lengthy essay entitled “On the Decadence of the Art of Singing,” where Lamperti states,
after bemoaning the then current state of vocal music, that he does not “wish this guide to
be considered a new method of teaching singing; [he] would rather suggest it as counsel,
which, if wanting in scientific merit, will, as the fruit of [his] experience and study, be of
some value.”70 Almost a decade later, Vennard, a “pioneer in the science of singing and
in voice pedagogy and was instrumental in fostering collaborative efforts between
singers, physicists, psychologists and voice scientists,” published Singing: the
Mechanism and the Technic. 71 He unsurprisingly takes a much more scientific approach–
–presenting, alongside descriptions and musical examples, a plethora of photographs,
69 James Radomski and April Fitzlyon. “Garcia Family” (Grove Music Online, 2001). Accessed
January 27, 2020. 70 Francesco Lamperti, The Art of Singing (New York: G. Schirmer, 1890), 5. 71 Tom Cleveland, “Vennard, William” (Grove Music Dictionary, 2001). Accessed February 26,
2020.
30
illustrations, and graphs. These texts taken together go a long way to express much of
what is currently known of good vocal technique.
Jumping from the 19th century to the modern state of vocal technique and
pedagogy, Richard Miller’s The Structure of Singing (1996), Oren Brown’s Discover
Your Voice (2005), Scott McCoy’s Your Voice: An Inside View (2012), and Wendy
LeBorgne and Marci Daniel Rosenberg’s The Vocal Athlete: Application and Technique
for the Hybrid Singer (2014) are among the resources that are currently used in collegiate
voice pedagogy courses. These texts have much in common in terms of content and
formatting. Significant for the purposes of this study, the majority of these texts include
practical musical examples or exercises. Of these four resources, Miller’s Structure of
Singing stands out as the most complete in terms of both technical information and
practical vocal exercises. There are many examples here to use as guides for melodic
structures in the original études that will be composed for this project. Brown’s Discover
Your Voice and LeBorgne & Rosenberg’s The Vocal Athlete also include exercises, but to
a lesser degree and mostly separated out into appendixes. McCoy’s Your Voice does not
include many musical examples but is noteworthy for its ample of visual examples. All of
these resources emphasize and mostly agree regarding the following aspects of singing:
breath, tone production, registration, resonance, and articulation. Though there are
certainly other topics covered by all (e.g., posture, release of tension, etc.), the
aforementioned elements of technique are likely best approached in a vocal étude and
will be discussed further below.
31
In Miller’s more recent Solutions for Singers (which shares a question and answer
format similar to Manuel Garcia’s Hints on Singing),72 the author discusses the challenge
of finding repertoire for beginning singers. He advises that, “until a fairly sound technical
basis has been established, it is wisest to choose mostly English-language songs and
songs in Italian.”73 This states the problem clearly, but also illustrates the lack of
guidance most voice teachers feel when choosing repertoire.74 Few other texts mention
selecting repertoire, except that it should be appropriate for the level and voice type of the
vocalist.75 None surveyed here mention the use of voice études.
American soprano and teacher, Estelle Liebling (1880-1970), was trained in Paris
by Mathilde Marchesi and in Berlin by Selma Nicklass-Kempner. She made her debut at
the Dresden Hofoper in the title role of Donizetti’s Lucia di Lammermoor at the age of
eighteen. Liebling contributed a number of helpful resources including The Estelle
Liebling Coloratura Digest (New York, 1943) and The Estelle Liebling Vocal Course
(New York, 1956).76 The Liebling Vocal Course is structured in an outline format, with
step-by-step descriptions of many of the technical processes of singing. The first part
includes a number of illustrations, including the anatomy of breathing and the larynx. The
second part focuses on exercises for agility, trills, and messa di voce, with simple piano
accompaniments. And the final, and much shorter third section, summarizes the concerns
of diction in the primary languages in which classical singers perform. Though much
smaller than many of the other resources mentioned in this section, The Liebling Vocal
72 Manuel Garcia. Hints on Singing (New York: E. Schuberth & Co, 1894) 73 Richard Miller, Solutions for Singers (New York: Oxford University Press, 2004): 199. 74 Miller does, however, provide a list of repertoire for younger or beginning singers in the
appendixes. 75 Wendy LeBorgne and Marci Rosenberg, The Vocal Athlete: Application and Technique for the
Hybrid Singer (New York: Plural Publishing, 2014), 125. 76 Karen Monson, “Liebling, Estelle” (Grove Music Online, 2002).
32
Course presents a unique format and a number of helpful exercises, particularly in the
area of agility.77
Elizabeth Blades’ approach to the topic, in her 2018 A Spectrum of Voices, “does
not promote one teacher's perspective, nor does it promote one particular approach,” but
instead distills a number of complex or controversial voice topics, presenting “nearly
thirty quoted interviews from teachers of note.” 78 Blades lists the following technical
concepts as being the most important for the majority of teachers interviewed: posture,
breath, tone, registration, evenness through range, diction, vowels, and tension.
Additionally, she concluded that among all the possible priorities for voice lessons, the
following were most agreed upon: “fostering independence in the student; implanting
healthy, reliable vocal technique that will promote longevity; encouraging free, joyful,
spontaneous music; and, variety in teaching.”
Also worth noting are a growing library of texts in the So You Want to Sing series,
published through an associating with the National Association of Teachers of Singing.
Many of these include similar information with some differences in presentation and
style, named by genre or topic (everything from So You Want to Sing Country to So You
Want to Sing Music by Women) to appeal directly to each specific audience. Matthew
Edwards, So You Want to Sing Rock ‘N Roll is one such resource.79 This book includes a
wide breadth of topics, including a history of rock vocals, vocal health for the rock
singer, and using audio enhancement technology. Edwards relies heavily on some of the
most well-known voice researchers and instructors in the field of contemporary
77Estelle Liebling, The Estelle Liebling Vocal Course (New York: Chappell & Co. Inc., 1956). 78 Elizabeth Blades, A Spectrum of Voices (2018). 79 Matthew Edwards, So You Want to Sing Rock N’ Roll (New York: Rowman & Littlefield,
2014).
33
commercial music (CCM), including Jeanie LoVetri (Somatic Voicework), Jo Estill
(Estill Voice Training), and Seth Riggs (Speech Level Singing). The chapter on rock
vocal pedagogy entitled “Let Me Hear You Scream!” contains a majority of the texts
practical examples and is most pertinent to this study. To start this chapter, Edwards
quotes LoVetri, saying that through exercises, “the muscles of the vocal mechanism can
be trained over time to respond automatically.”80 Due to this chapter’s focus on rock
vocalization it includes potentially controversial topics such as healthy breathy singing,
reinforced falsetto, purposeful vocal fry, and high laryngeal positions81––in addition to
the foundational vocal technique topics included in many of the other resources
mentioned here.
In a similar vein, the chair of the Voice Department at Berklee College of Music,
Anne Peckham’s The Contemporary Singer: Elements of Vocal Technique approaches
technique from a contemporary voice teacher’s point of view. Thus, the practical
concerns of a modern vocalist are taken into consideration, alongside anatomy, the
fundamentals of vocal technique, and musicianship. Some of the practical concerns
mentioned include microphone technique, performance anxiety, and transitioning from
classical to pop singing. There are a number of illustrations and musical examples
included in the text, and it is formatted in the style of many other modern textbooks, with
clear topic markers and concise chapters. The Contemporary Singer also includes a play-
80 Matthew Edwards, So You Want to Sing Rock N’ Roll (New York: Rowman & Littlefield,
2014), 83. 81 Ibid., 100, 111, 133.
34
along compact disc with accompaniments and audio examples, as well as three practice
songs from the popular music cannon.82
The following general conclusions can be drawn from this review of voice
pedagogy resources. Breath is perhaps the most ubiquitous technical concern in singing,
as it is the energy source for sound production. Exercises on this topic typically include
long, melodically and rhythmically simple phrases intended to present a challenge in both
the depth of inhalation and the process of balanced exhalation or suspension during
phonation. Next, tone production, including onset and offset of the vocal folds, is often
approached by words or syllables that start with a vowel, either in a series of staccato
notes or in a legato phrase. Tone, however, can also imply phonation, timbre, resonance,
or color of the sound. To focus on these aspects of voice technique particular vowels,
words, dynamics, or resonant placements (e.g., “in the mask”83) can be utilized.
Dynamics, including messa di voce, is a product of both delicate control of breath and
efficient phonation. Or as Miller additionally says, “dynamic levels indicated in a musical
score often are designations not only of amplitude, but of quality and mood.”84
Registration can indicate both the strengthening of one particular register (e.g., head/light
or chest/heavy voice, or belt) or can signify smooth transitions from one register to
another. Registration transitions are approached primarily via the tessitura or arch of the
melody and is dependent upon the range of the vocalist. Finally, improved articulation or
diction can be achieved through thoughtful uses of text or lyrics––challenges in this area
82 Anne Peckham, The Contemporary Singer: Elements of Vocal Technique, (Boston: Berklee
Press, 2000). 83 “In the mask” or masque is a term used to describe a forward placement of the vocal sound,
resonating in the zygomatic region of the face (nose and cheeks). 84 Richard Miller. The Structure of Singing: System and Art in Vocal Technique (New York: G.
Schirmer, 1996).
35
are created by repeating consonants, or rapid or long sequences of text. There may be
other important technical considerations to include, however, these widely agreed upon
concepts represented a well-defined starting point. In part, this summary of voice
pedagogy texts has aided in the composition of technically challenging and relevant voice
études.
Summary
Resources available to jazz and contemporary voice teachers are relatively limited
compared to their classical colleagues, as these pedagogies are new by comparison.
Research, evidence regarding student outcomes, and practical experience specifically
regarding études in these styles are therefore also limited. The preceding review of the
literature briefly surveyed some of the exceptions to this statement in jazz and
contemporary music and described some of the noteworthy examples of études in the
classical repertoire. Voice pedagogy texts and the teachers that created them have also
been discussed above. The goal of this inquiry was to better define the technical aspects
of singing. The hope is that this research has led to more thoughtfully constructed
original études for this project.
The expectation that a study, vocalise, or étude should be both technically
rigorous while also having aesthetic value is a high expectation to place on any one
composer or collection of works. The potential dual purpose of creating an expressive
work that is also pedagogically thoughtful is nonetheless an attractive proposition for
both the teacher and the student. As has been mentioned earlier, the need for thoughtful
teaching materials in the areas of jazz and contemporary voice is substantial. This
36
literature review begins to illustrate why this project, to compose advanced jazz and
contemporary vocal études, will fill a need in the jazz, contemporary, and music
education communities and enhance a vital pedagogical and artistic tradition.
37
Chapter 3
METHODOLOGY
This chapter further outlines the methods of research undertaken for this study.
Specifically, this section details the process and findings of the voice teacher survey,
summarizes practical information derived from selected voice technique resources, and
describes the process of composing original advanced jazz and contemporary voice
études. The following activities took place simultaneously, each informed by the others.
The composition of études and the collection and sorting of helpful vocal exercises began
in December 2019, while the Voice Teacher Survey was sent to participants at the start of
January 2020 and remained open until mid-February 2020. Inquiry into the history of
instrumental and vocal études and their use in classical, jazz, and contemporary pedagogy
began in October of 2018 and continued throughout the entirety of this study.
The goal in composing new vocal études was the creation of songs that
authentically express the authors ideas, emotions, and aesthetic, while also providing
technical and musical challenges that are appropriate for the common student and
teacher’s goals in these areas. Therefore, this research consisted of the following: 1) a
survey of notable études and studies, both instrumental and vocal, particularly focused on
jazz and contemporary music; 2) a compilation of technical concerns described in the
most widely used voice pedagogy resources; and 3) a survey of twenty college-level
applied voice teachers currently teaching in jazz and contemporary voice departments in
the United States. The considerations for each of these categories is discussed below.
In early January 2020 a survey was conducted with twenty prominent collegiate
jazz and contemporary voice instructors. The survey was developed and instituted
38
through the online survey software Core XM by Qualtrics. Emails sent to the survey
participants were created via the email software provider MailChimp. This email service
allowed the recipient open-rate and the survey link click-rate to be tracked, and if needed,
followed up on. The primary goal of this survey was to help determine which technical
and musical concepts would be most helpful to include in the original études being
written for this project. Additionally, the survey collected basic information on the
private teachers currently in the field, discovered études commonly used in their applied
voice instruction, if any, and discerned how many teachers have created or designed
teaching materials for their applied lesson students.
The review of notable études and studies described in the Literature Review
above encompasses a number of instruments and styles, focusing primarily on études
written specifically for the voice and those in a jazz and contemporary style. To begin,
études written by composers of the both the instrumental classical and jazz cannons has
been considered (e.g., the piano études of Frédéric Chopin, and the jazz études of Chick
Corea and Bob Mintzer). Then, the collections most often used by voice teachers, such as
Nicola Vaccai’s (1790-1848) Practical Method, Giuseppe Concone’s (1801-1861) Fifty
Lessons for the Medium Part of the Voice, Opus 9, Heinrich Panofka’s (1807-1887) two
sets of vocalises (op. 85-6), Francisco Lamperti’s (1813-1892) The Art of Singing,
Mathilde Marchesi’s (1821-1913) Bel Canto: A Theoretical & Practical Vocal Method,
and Ferdinand Sieber’s (1822-1895) Thirty-Six Eight-Measure Vocalises have all been
reviewed. Finally, études written by jazz and contemporary college educators, for
example Anne Peckham’s Vocal Workouts for the Contemporary Singer and Darmon
39
Meader’s Vocal Jazz Improvisation: An Instrumental Approach, Intermediate &
Advanced Studies have been studied.
Vocal pedagogy is a thoroughly researched subject, and the texts from the
preeminent practitioners in the field have been consulted. This has been done in order to
compile, rank, and define the most critical technical concerns vocalists encounter. Such
resources include Richard Miller’s The Structure of Singing, Mathilde Marchesi’s (1821-
1913) Bel Canto: A Theoretical & Practical Vocal Method, Manuel Garcia’s (1806-1906)
Hints on Singing, Francisco Lamperti’s (1813-1892) The Art of Singing, William
Vennard’s (1909-1971) Singing: the Mechanism and the Technic, Estelle Liebling’s
(1880-1970), The Estelle Liebling Vocal Course, and Matthew Edwards, So You Want to
Sing Rock ‘N Roll. All of these texts have example exercises, some of which are further
investigated below. These exercises have been consulted when composing both the
études themselves and the supplemental pedagogical explanations.
Voice Teacher Survey
A survey of private teachers was conducted in January of 2020 in order to
ascertain their most pressing concerns regarding voice technique (for a list of the survey
questions, please see Appendix B; for the complete survey results, please see Appendix
C). The survey consisted of eleven questions and was sent to a total of forty-six (46)
instructors with twenty (20) responses. College level applied voice instructors from many
of the country’s leading institutions in jazz and contemporary voice participated in the
survey, including (but not limited to) faculty from Berklee College of Music, Manhattan
School of Music, The New School for Jazz and Contemporary Music, Belmont
40
University, California State University-Long Beach, The City College of New York, the
New England Conservatory of Music, Western Michigan University, the University of
North Texas, and the University of Miami’s Frost School of Music. The ancillary goals of
the survey were to discover if any of the teachers surveyed have composed music either
explicitly or inadvertently for their students, and to gauge interest in using études as a
tool for instruction. The design of this survey is considered “cross-sectional,” as it
collected data regarding the beliefs, opinions, or practices of voice instructors at this “one
point in time.”85 The information collected by this survey aided in the composition and
formatting of études included in this project.
The first two questions of the survey asked teachers to self-report the style of
music and level of student they most often teach. These demographic questions attempted
to get a general sense of the kind of students these teachers worked with most often.
Instructors were able to select any style that applied. Of the twenty instructors surveyed,
nineteen (19) or ninety-five percent (95%) teach jazz voice, twelve (12) or sixty percent
(60%) teach contemporary voice, seven (7) or thirty-five percent (35%) teach classical
voice, four (4) or twenty percent (20%) teach musical theater, and one (1) or five percent
(5%) selected none of the above. A majority of the instructors most often teach
upperclassmen undergraduate (80%), lowerclassmen undergraduate (70%), and graduate
(60%) students, with half teaching professionals (50%), and a small number (15%) teach
high school or younger students.
The following three questions focused on what and how these teachers instruct
their private students in regard to vocal technique, with an emphasis on the use of the
85 John Creswell, Educational Research (Boston: Pearson), 377.
41
étude as teaching tool. The first question in this grouping asks the respondents to identify
the most successful way to develop proper technique. Here instructors said that
independent vocal exercises were the most successful (55%), followed by exercises
derived from repertoire (40%) and repertoire (35%). Études were not highly regarded in
this context, only receiving twenty-five percent (25%). The second question in this group
asked instructors how often they used études in their private studios. A majority of
instructors (67%), said they sometimes or never use études, while the remainder (33%)
said about half the time or more. For this question in particular, it would be interesting to
know how jazz and contemporary voice teachers compare with their colleagues that
primarily teach classical voice. Finally, from the étude collections presented to the private
teachers (the full list can be found in Appendix B), Darmon Meader’s Vocal Jazz
Improvisation was used most often (47%), followed by Vaccai’s Practical Method
(40%), Anne Peckham’s Vocal Workouts for the Contemporary Singer (27%), Marchesi’s
20 Vocalises (6%), and Sieber’s Thirty-six Eight Measure Vocalises, Op. 93 (6%).
Additionally, Jim Snidero’s Jazz Conceptions, Concone’s Fifty Lessons for the Voice, and
Panofka’s 24 Progressive Vocalises were suggested, all of which have been included in
the literature review of this study. The shortage of resources for jazz and contemporary
voice teachers may account for the lack of use of études in these instructors’ teaching,
however, more research is needed to confirm this hypothesis.
Questions six and seven asked the instructors to rank both the technical and
musical concepts to be included in a contemporary or jazz étude designed to develop
vocal technique. Options available to be ranked one through five in the area of technical
concepts were breath, tone, registration, resonance, and agility. The results to both of
42
these questions proved particularly difficult to understand. For example, “tone” received
the most votes for both the most helpful (33%, tied with “breath”) and least helpful
(33%). This is particularly unfortunate to report because the answers to this question were
hoped to specifically guide the focus of the original études written for this project.
In an attempt to reveal something of a meaningful outcome from this question a
simple point system was devised in which a ranking on one (1) would be worth four (4)
points, a ranking of two (2) would be worth three points (3), all the way down to a
ranking of five (5) being worth zero (0) points. For example, breath, which received five
(5) rankings of one (1), two (2) rankings of two (2), four (4) rankings of three (3), one (1)
ranking of four (4), and three (3) rankings of five (5) would accrue a total score of thirty-
five (35). Using this system registration received a score of thirty-six (36), breath thirty-
five (35), tone thirty-two (32), resonance twenty-six (26), and finally agility twenty-five
(25). By extrapolating the mean score of each option and ranking them with the lowest
mean to highest, the implication being that a lower mean indicates a score closer to one
(1) or most important, we see similar results. Registration had a mean ranking of 2.60,
breath, 2.67, tone, 2.87, agility, 3.33, and finally resonance, 3.53. By either method,
registration, breath, and tone would be considered most important to include in a jazz or
contemporary étude designed to develop vocal technique according to the voice
instructors surveyed.
Regarding the question about musical concepts to be included, results were
somewhat clearer using the methods described above. The three options were dynamics,
articulation, and phrasing. Using just the mean ranking this time, phrasing was ranked the
highest, 1.57, followed by articulation, 1.71, and finally, dynamics, 2.71. These were
43
surprising results given the number of published vocal études and exercises that are
devoted to dynamics (or messa di voce).
The following question asked instructors to provide any noteworthy technical or
musical concepts that were not listed as an option, but which should also be considered.
Style was the most requested concept, though the fact that this collection will
intentionally not address stylistic considerations has already been addressed above.
Additionally, the release of tension and “vocal freedom” was mentioned by two
instructors. Jazz and rhythmic vocabulary, time feel, and timbre variety were mentioned
once each. Due to the focus and limited scope of this study, none of these suggested
concepts have been directly included in original études.
The next two questions pertained to the inclusion of lyrics in voice études.
Though études with lyrics may naturally align more closely to repertoire in the jazz and
contemporary cannons, and are therefore more suitable for performance, there was a
concern among some teachers that lyrics might distract from the technical concerns of the
étude. Specific responses included that lyrics offer “another dimension of singing” that
requires special attention. Some would rather focus on “the voice, not expression,”
“concepts other than lyric or interpretation,” or use jazz syllables to “achieve a more
instrumental approach.” Multiple teachers also stated that if needed they could “use
repertoire for lyric use.” In fact, a majority (71%) of teachers would prefer études without
lyrics for primarily this reason. It should be noted that a number (43%) of the instructors
commented that they would have selected the both (with and without lyrics), if they had
had the option. Instructors in favor of the inclusion of lyrics stated that they believed
“students would connect more with something that has lyrics and be more likely to
44
practice,” and that, because vocalist often sing lyrics, it is “helpful to have [students]
grapple with [lyrics].” A potential middle ground between these two opinions would be to
provide the option for teachers to approach the études of this project both with and
without lyrics, perhaps with suggested syllables including alongside lyrics. This
compromise was suggested by a third (36%) of teachers surveyed.
The final question of the survey asked if the instructors “had ever written a piece
that one of their students had performed?” This question was meant to discover if any of
the teachers surveyed have composed music either explicitly or inadvertently for their
students. A majority (73%) of teachers reported composing music specifically for their
students or generally for use in teaching. One teacher said these compositions included a
“jazz ballad étude, a Latin vocalese, and a pentatonic pattern exercises,” while three
instructors reported that “students have performed pieces of [theirs] in recitals, concerts,
and recordings.” A follow up to this question for further research might be, “how to you
think the process of writing music intended for instruction has benefited you and your
students?” The tested theory being that compositions by teachers for their students may
be more closely aligned with the student’s needs, as well as representing a stimulating
and invigorating process for both teacher and student.
Helpful Exercises from Voice Technique Resources
The following section includes a discussion of select vocal exercises which have
been chosen from voice technique texts reviewed in this essay in an effort to specifically
and systematically engage with each intended technical concept. The resources reviewed
above each include a vast amount of vocal exercises. It would be impractical to list or
45
discuss them all, therefore, a difficult decision has been made. The following criteria
have been devised in order to thoughtfully choose which exercise examples to include
below: first, the exercise should be likely to be relevant to jazz and contemporary voice
teachers and students; second, it should address concepts ubiquitous in voice pedagogy
texts; and third, it ought to present melodic patterns that could be convincingly
incorporated into the melody of a voice étude. These criteria have led to the selection of
three primary technical concepts: breathing, agility, and registration, followed by a
limited number of secondary concepts, which include portamento, range, onsets, and
dynamics. The ultimate objective of this discussion is to implement these concepts in the
original études composed for this project.
Breath
The importance of breathing cannot be overstated. It is critical to human life and
the energy source for the vibrations of singing. It is also the first topic covered in many
collections of exercises, vocalises, and études. As Richard Miller says, “almost any
vocalise is a breath-management exercise.”86 There are a number of variations on this
term that are used in vocal technique resources, these include breath management,
support, and control. To avoid confusion and controversy, the simplified term “breathing”
is used to categorize the original étude composed for this project. The art of breathing for
singing is covered extensively in the texts of Garcia, Marchesi, Miller, and others.
The tenets of efficient breath-management include a low, diaphragmatic
inhalation, expansion and suspension of the ribcage, and engagement of the abdomen
86 Richard Miller. The Structure of Singing: System and Art in Vocal Technique (New York: G.
Schirmer, 1996), 35.
46
during exhalation. Breathing in through the nose and exhaling out through a hiss is
suggested as a first step by many voice teachers, while gradually decreasing the amount
of time taken for inhalation whilst maintaining or increasing the time devoted to
exhalation. Lip trills and tongue rolls during long, simple melodic phrases often follow.
In musical examples, melodies that include long phrase lengths, with few opportunities
for inhalation, are employed to challenge a vocalist’s ability to efficiently breath. Miller
and others also include instances in their writings where the breath must be “quickly
renewed” either in a single instance or repeatedly in succession.
Examples of the types of breathing exercises included in the resources mentioned
above and used as models in the composition of original études follow.
Example 1.1. Richard Miller, The Structure of Singing, “Breath Renewal,”
Ex. 2.9-11, pg. 35.
Besides the common long tone exercise, the breath renewal exercise found in
Example 1.1 from Miller’s Structure of Singing is perhaps so deeply basic as to border on
obvious. Though it is an unambiguous starting point and worth emphasizing––breath is of
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47
critical importance to effective singing.87 Highlighted here is the systematic development
of the two main processes of breathing, inhalation and exhalation. Both the pacing of the
inhalation (“neither too early or too late for the subsequent attack”) and a relaxed glottis
are both highlighted by Miller. A form of this exercise is found in a majority of the texts
reviewed here and establishes the foundation for all that follows.
Example 1.2. Richard Miller, The Structure of Singing, “Quick Renewal,” Ex. 2.12, pg. 35.
The particular challenge of the exercise found in Example 1.2 is to “regulate
relatively quick inhalations without altering the ‘position of singing,’ that is, the pre-
phonatory tuning of the laryngeal musculature, and of the supraglottal vocal tract during
renewal of the so called ‘partial breaths.’”88 The repeated attacks of this exercise can also
be helpful for developing balanced onsets and therefore balanced tone. This concept is
expanded upon in the following excerpt. Sostenuto, or a longer, sustained phrase, with
onsets is mentioned in the Additional Technical and Musical Concepts section below.
87 William Vennard, Singing: the Mechanism and the Technic (New York: Carl Fischer, Inc.,
1967),18. 88 Richard Miller. The Structure of Singing: System and Art in Vocal Technique (New York: G.
Schirmer, 1996), 35.
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Example 1.3. Richard Miller, The Structure of Singing, “Renewal in Brief and Long
Phrases,” Ex. 2.14, pg. 36.
Example 1.3 combines varied phrase length, melodic shape, and potentially
registration adjustments with the quick inhalations of the previous exercise. Miller again
suggests that, “the small, silent actions of breath renewal make this vocalise important for
achieving correct postural and laryngeal relationships, while adding to breath energy.”89
Example 1.4. Mathilde Marchesi, Bel Canto: A Theoretical & Practical Vocal Method,
“Messa di voce,” Exercise 174, pg. 39.
Similar to the aforementioned long tones, Example 1.4 from Mathilde Marchesi
includes a dynamic swell, also known as messa di voce. The messa di voce (Italian for
89 Ibid., 36.
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“placing the voice”) is “one of the most important techniques of 17th and 18th century
Italian singing style, first as an ornament and then as a pedagogic tool.”90 According to
Marchesi, “the messa di voce should not be practiced until the voice has acquired a
certain degree of suppleness and flexibility, and should never be attempted by
beginners.”91 The decrescendo at the end of the swell is particularly difficult to achieve,
though this dynamic shape is common in many styles of music.
These exercises are common in vocal technique resources for good reason. As
with all technical exercises they do not inherently illustrate the solutions, they simply
present the problems. Because many phrases in jazz and contemporary repertoire can be
short or detached, singers in these genres may not encounter a significant number of
musical examples requiring vigorous breath management––perhaps rarely needing to
sustain a long note or phrase. Thus, these exercises, or an étude developed to present this
technical difficulty in a clear way, can be helpful preparation.
As previously stated, breathing is perhaps the most central skill of singing.
Therefore, effective breathing is critical to all aspects of the artform. Miller says as much
when stating that exercises devoted to the development of such a wide variety of topics
such as “agility and sostenuto are also breath-management vocalises.” Again, Miller goes
further saying that, “any error in vocal technique, or any accomplishment of technical
skill in singing, usually can be traced to techniques of breath management; control of the
breath is synonymous with control of the singing instrument.”92
90 Ellen T. Harris, “Messa di voce,” Grove Music Online, 2001. Accessed February 20, 2020. 91 Mathilde Marchesi, Bel Canto: A Theoretical & Practical Vocal Method (New York: Dover
Publications, 1970), 39. 92 Richard Miller, The Structure of Singing: System and Art in Vocal Technique (New York: G.
Schirmer, 1996), 37.
50
Agility
Supple agility is useful in any style of singing but is an essential aspect of many
modern popular styles.93 Agility is most simply defined as the ability to move between
pitches quickly and easily. Miller says that, “agility patterns play an important role in
inducing efficient coordination among the separate parts of the vocal mechanism.”94
Brisk melodic patterns and runs are most often associated with the development of
agility. Exercises of this type are often grouped in order of complexity or difficulty. The
ultimate goal is pitch clarity and ease throughout the range with consistent tone and
dynamics.95
Examples of the types of agility exercises included in the resources mentioned
above and used as models in the composition of original études follow.
Example 2.1. Estelle Liebling, The Estelle Liebling Vocal Course, “Accented Runs,” Ex. 15,
pg. 34.
93 Anne Peckham, The Contemporary Singer: Elements of Vocal Technique (Boston: Berklee
Press, 2000), 112. 94 Ibid., 42. 95 Estelle Liebling, The Estelle Liebling Vocal Course (New York: Chappell & Co. Inc., 1956), 34.
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In Example 2.1 from Estelle Liebling’s, Vocal Course, the student is required to
do a relatively simple ascending five note pattern followed by a major scale ascending up
to the ninth note and back down again to the root. The syllable “sia” is common in
exercise of this type, as the initial “s” encourages a vibrant onset and the transition from
the [i] to the [a] vowel aids with the acoustic resonance of the ascending melody.
Estelle’s corresponding note cautions that, “the voice sometimes has a tendency to
neglect the 3rd note in short runs and the 5th note in long runs. To avoid that, observe the
accents.”96
Example 2.2. Manuel Garcia, Hints on Singing, “Runs or Divisions (Two Variations),”
Ex. 25, pg. 27.
These variations found in Example 2.2 by Manuel Garcia illustrate two of many
possible different melodic shapes used to develop agility. Garcia does not stipulate any
particular vowel or syllable to be used in these exercises. Such patterns are particularly
96 Estelle Liebling, The Estelle Liebling Vocal Course (New York: Chappell & Co. Inc., 1956), 34.
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52
common to jazz musicians, who often use such exercises to develop fluidity in a scale or
mode ultimately used during improvisation.
Example 2.3. Anne Peckham, The Contemporary Singer, “Pentatonic Sixteenths,”
Ex. 9.8, pg. 114.
A strikingly similar, but more modern example of such melodic runs is found in
Example 2.3 from contemporary voice pedagogy, Anne Peckham’s, The Contemporary
Singer. The pentatonic scale is used here in place of the complete major scale,
emphasizing the pentatonic scale’s importance in contemporary music. Here Peckham
suggests the syllable “aye”, though it can be assumed that other syllables might also be
used to similar effect. While certain scales may be more or less practical in different
styles of singing, similar methods are used through a vast spectrum of vocal pedagogy
texts.
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Example 2.4. Estelle Liebling, The Estelle Liebling Vocal Course, “Turn,” Ex. 21, pg. 42.
Example 2.4 again shows variations on a similar melodic shape used to develop
vocal agility. These, again by Liebling, demonstrate not a repeated pattern or scaler
passage, but a common turn, or short melismatic melodic figure. Liebling says that, “each
of these grace-note groups form a TURN, or GRUPETTO. They must be sung quickly
and delicately, but clearly.”97
Example 2.5. Anne Peckham, The Contemporary Singer, “Minor Pattern 1,” Ex. 9.4, pg. 112.
97 Estelle Liebling, The Estelle Liebling Vocal Course (New York: Chappell & Co. Inc., 1956), 42.
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Peckham’s “Minor Pattern 1,” shown here in Example 2.5 demonstrates an
exercise meant to more closely resemble the melody of a song. The syllable “woah” is
common in contemporary music, particularly in background vocals or repeated in the
chorus of many popular songs. This minor pentatonic pattern is also akin to the blues
scale, which is present in nearly all genres of jazz and popular music. Exercises like this
one are found in many of the jazz and contemporary pedagogical resources reviewed
above. Not only do they present commonly found melodic shapes, they also help develop
the musical vocabulary used while improvising.
These exercises represent just a small sample of the many patterns proposed by
the voice technique texts mentioned above. The differences found in the texts from those
teachers from the classical genre verses their colleagues in jazz and contemporary voice
are perhaps surprisingly few. The preference of scale, and sometimes method of notation
or syllable suggestion, represent the only major novel variances. Thus, although “agility
is important in singing melodic embellishments in gospel and much other popular
music,” it is clearly important in all types of singing.98 The primary goal of subtle vocal
agility is “freedom from muscular tension and reliance on steady air pressure.” Therefore,
working on a variety of melodic patterns, a few of which have been illustrated above, can
help develop the ability to easily and consistently navigate throughout the voice’s entire
range.99
98 Anne Peckham, The Contemporary Singer (Boston: Berklee Press, 2000), 112. 99 Ibid.
55
Registration
A vocal register is a “series of consecutive pitches that have a similar tone quality
and are produced using the same muscular actions of the vocal mechanism.”100 There are
two primary vocal registers, the “heavy mechanism” or chest voice, and the “light
mechanism” or head voice (sometimes called the falsetto).101 The goal in studying
registration is what Vennard calls “dynamic balance.”102 He says that the successful voice
teachers have “always recognized the overlapping of registers and the possibility of going
from one to another on the same pitch, while making a crescendo or decrescendo. This is
the essence of the messa di voce.”103 He goes on to note that three generalizations may be
offered, as to pitch, intensity, quality, when navigating the vocal registers. First, to
develop the widest possible range without a break, “the adjustment must be heavy in the
lower part of the voice, and the balance should shift smoothly toward the lighter
production as the scale is ascended.” Second, on any pitch in a vocalist’s range, “the
softer it is, the lighter must be the production without breathiness; and the louder, the
heavier.” Third, to produce a rich timbre “the adjustment should be heavy; to produce
‘sweet’ timbre, it should be light.”104
Registration control is critical to singing jazz, both as a solo singer and as a
member of an ensemble. As Cherilee Walker says in her 2005 dissertation, “interestingly,
even from the perspective of a musical style that prizes individuality and tends to pitch its
literature in ranges more suggestive of speaking than singing, smoothing over the timbral
100 Ibid., 49. 101 William Vennard, Singing: the Mechanism and the Technic. (New York: Carl Fischer, 1967),
66-67. 102 Ibid., 58. 103 Ibid., 77. 104 Ibid., 77.
56
changes associated with different registers of the voice was still a primary concern.” In
the same dissertation, well-known vocal jazz educator, Paris Rutherford is quoted as
saying, “private lessons should focus on the voice, the building of the voice and the
combining of the voice; that is, eliminating the break and making sure the person has
access to the total voice.”105
Examples of the types of registration exercises included in the resources
mentioned above and used as models in the composition of original études follow.
Example 3.1. Richard Miller, The Structure of Singing, “Developing Lower Range,”
Ex. 10.7, pg. 140.
In Example 3.1, Miller presents a simple melody formed by an octave leap down
into what would constitute the chest register for the majority of voice types (sung down
the octave for tenors, baritones, and basses), followed by a descending five note scale and
ascending back up to the original pitch. For this exercise, any vowel may be used. This
pattern is “useful for developing an awareness of chest function and sensation are those
based on descending intervallic patterns.”106
105 Cherilee Walker, “Pedagogical Practices in Vocal Jazz Improvisation,” (PhD diss., University
of Oklahoma, 2005), 152. 106 Richard Miller. The Structure of Singing: System and Art in Vocal Technique (New York: G.
Schirmer, 1996), 140.
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Example 3.2. Estelle Liebling, The Estelle Liebling Vocal Course, “Medium to Chest” and
“Head to Medium,” Ex. 14, pg. 33.
Example 3.2 represents a pattern found in other voice pedagogy text, such as
those by Peckham and others, both in its melodic shape and use of the “sia” syllable. The
range of this melody, an octave plus a major third, all but ensures that a registration shift
must take place. Here the goal according to Liebling is that “there must be no ‘break’ or
difference of tone quality between the registers.” To do this, Liebling suggests that the
student “sing more gently and with the mouth not quite so open,” when ascending
through a change in register, and “sing more firmly and with the mouth slightly more
open than normal,” when descending through a registration shift. Thus, she says, “the
strength of all tones will be equalized,” and the “voice will sound smooth.” Liebling
cautions that the student should allow the register to change automatically.107
107 Estelle Liebling, The Estelle Liebling Vocal Course (New York: Chappell & Co. Inc., 1956),
33.
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Example 3.3. Matthew Edwards, So You Want to Sing Rock ‘N’ Roll, “Blending Head to
Chest, Descending Blues Scale,” Fig. 4.16, pg. 108.
As with Example 2.5, Example 3.3 emulates a common contemporary melodic
shape based on the blues scale. This exercise from Matthew Edwards is meant to be sung
on an [i] vowel and transposed throughout the vocal range, blending the head registration
from the start of the pattern down into the chest register at the conclusion.
Example 3.4. Richard Miller, The Structure of Singing, “Inducing Head Mixture in Middle
Voice,” Ex. 10.17, pg. 143.
The title of Example 3.4 from Miller, “Inducing Head Mixture in Middle Voice”
indicates that the lower pitches of this pattern are meant to be sung in a mixed registration
and influence by the head registration of the higher pitches. This would clearly need to be
transposed for each singer to achieve this goal as this transition will occur in a different
range for every student. Again, any vowel can be used here.
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Example 3.5. Richard Miller, The Structure of Singing, “Even Registration in Upper and
Middle Voice,” Ex. 9.19-20, pg. 131.
In Example 3.5, Miller states that the “exercises in this group are recommended as
a systematic approach to equalization in register transition. Some of the vocalises begin
below the primo passaggio (i.e. register transition) and extend into the area of the
secondo passaggio; others deal more directly with the passage from voce intermedia (i.e.
mixed, middle register) into upper voice.” Again, these exercises should be transposed to
accommodate any category of voice. Unlike the previous exercises here, numerous
specific vowels are suggested. These exercises are executed in half-step progressions, “in
series fashion, in several neighboring keys, both ascending and descending.”108
108 Richard Miller. The Structure of Singing: System and Art in Vocal Technique (New York: G.
Schirmer, 1996), 131.
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Example 3.6. William Vennard, Singing: the Mechanism and Technic, “Registration
Coordination,” pg. 214.
Vennard breaks the exercise in Example 3.6 down into four components. The first
measure “is the simple ‘yawn-sigh’ vocalise.” It may start in whatever key is comfortable
and then transposed up or down by half-steps, depending on the range of the student.
Measure one and two is the next stage, and “more difficult, involving a messa di voce on
the scale passage.” Performing the complete exercise as notated above is the “final, and
rather taxing development of the exercise. It is best not to spend too much time and
breath on the first part.” The last two notes, an octave apart, are meant to start in head
voice, and while performing messa di voce, portamento down into either a mixed or chest
registration. Vennard says that “if a student is unable to do all this in one phrase, he
should be given simply [the last measure] as a vocalise.” Later starting in the third or
second measure, and finally completing the entire exercise.109 Listed here as a registration
exercise, it is clearly a culmination of many technical competences.
Registration is one of the more controversial topics in voice pedagogy.110 The
controversy here includes not only the use of a wide variety technical terms to describe
the registers, some of which are obtuse, misused, or interchangeable, but also
disagreement as to the appropriateness of certain registers in healthy singing. Beyond
109 William Vennard, Singing: the Mechanism and the Technic (New York: Carl Fischer, Inc.,
1967), 214. 110 Richard Miller. The Structure of Singing: System and Art in Vocal Technique (New York: G.
Schirmer, 1996), 115.
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these debates, navigating the transitions of the registers and balancing the two primary
mechanisms is a primary goal of voice teachers in almost any style. Jazz and
contemporary voice study presents its own unique challenges in this area, though the
fundamental mechanical truths studied by classical vocalists remain highly relevant and
useful.111 The exercises presented above begin to illustrate how the voice pedagogy texts
reviewed here present vocal registration.
Additional Technical or Musical Concepts
In addition to breathing, agility, and registration, there are a host of other
technical and musical concepts to consider in the study of voice technique. The following
exercises are related to those surveyed above, but either blend or defy the primary
categories already mentioned. Highlighted among these is the development of tone. Tone
can be developed in a number of ways but is most commonly addressed via onset
exercises. Onsets are the beginning of the vocal tone and are categorized by the following
terms: glottal, aspirate, or balanced. Each type of onset is determined by the order of
operations of air flow and vocal fold engagement. For instance, a glottal onset will be
created if the vocal folds come together, or adduct, before the start of air low. This
creates a “popping” or prevailing muscular sensation and sound at the time of onset, and
typically creates a similar sounding subsequent tone. The exercises below have been
chosen for their particular relevance to jazz and contemporary singing and for their
ability to be addressed in a voice étude.
111 Seth Riggs, Singing for the Stars: A Complete Program for Training Your Voice, (New York:
Alfred, 1992), 124.
62
Example 4.1. Manuel Garcia, Hints on Singing, “Portamento,” Ex. 20, pg. 22.
Portamento is generally one of the first elements found in vocal technique
resources or étude collections. Typically, portamento patterns begin with small intervals
of a half or whole step, and gradually increase to larger intervals. Of the étude collections
reviewed here, portamento can be found in the works of Vaccai, Concone, and Marchesi.
The exercise from Manuel Garcia in Example 4.1 above begins with a C major triad, with
an interval of a major third and then a minor third. It continues by gradually increasing
the first and last interval from a major third to a perfect fourth, fifth, and major sixth,
before progressing back down to the starting melodic shape. All the while, a minor third
is maintained at the top of the arpeggio. This exercise could be used to focus on a number
of technical goals, including breath, tone, resonance, and registration (depending on the
voice type of the vocalist and the range in which the exercise is started).
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Example 4.2. Richard Miller, The Structure of Singing, “Sostenuto with Onsets,”
Ex. 8.20, pg. 114.
By focusing on a series of quick onsets followed by a long sostenuto (i.e.,
sustained) phrase, this exercise by Miller (Example 4.2) is intended to develop consistent
balanced tone. The directions from Miller specify that, “a single vowel is used (keep a
balance between front and back vowels), or vowels may be varied by the phrase or by the
beat.” Consonants may be introduced before syllables on each phrase. The exercise is
intended “only for the technically secure professional singer, or for use under careful
supervision of the teacher.” He goes on to say that “in order to secure the fully opened
glottis and the immediate response among the great muscles of the torso, which ensure
deep and precise inhalation, it is often wise to precede the sostenuto phrase with a bar of
quick onset vocalises.” The inhalation just before the sustained phrase is taken in the
same quiet, efficient, quick manner as in any onset exercise. Equally important is to
“practice the sostenuto exercises with slow rhythmic breath pacing (inhalation) between
the phrases of a consecutive series.” In this way, onset and sostenuto functions are
united.112
112 Richard Miller. The Structure of Singing: System and Art in Vocal Technique (New York: G.
Schirmer, 1996), 114.
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Example 4.3. Richard Miller, The Structure of Singing, “Range Extension,”
Ex. 12.8, pg. 169.
Example 4.3 from Miller demonstrates an approach to range extension. This
exercise and ones like it are “not intended for the singer who does not already have a fair
degree of technical facility.” They should be transposed for each individual student as
necessary and can be sung on any vowel. And, though this exercise may “appear
strenuous at first,” it is similar to many melodic passages found in classical, jazz, and
contemporary repertoire. It is important for the advanced student to utilize the full range
of their voice. To do this, exercises such as this should be a part of daily practice.113
Example 4.4. Matthew Edwards, So You Want to Sing Rock ‘N’ Roll, “Registration and
Dynamics,” Fig. 4.51, pg. 139.
113 Ibid., 169.
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This exercise by Matthew Edwards (Example 4.4) demonstrates a culmination of
many of the technical concerns mentioned above presented as a typical contemporary
melodic phrase. The inclusion of lyrics distinguishes this example from the other
exercises mentioned thus far and further aligns it with the repertoire of this genre. The
goal here is complete control and independence of vocal register and dynamic range––
both of which can greatly be dependent upon where this melody sits in the vocal range.
Therefore, it is helpful to transpose this exercise up and down to find the inherent
challenges it may present throughout the range.
Summary
This is a brief survey of the many exercises presented in the voice pedagogy texts
of the teachers mentioned here. Many additional melodies and methods have influenced
the compositions that follow but have been omitted––as a comprehensive examination of
all of these inspirations would take many more pages than have been allotted for this
study. Instead, the preceding examples of voice exercises in the areas of breathing,
agility, registration, portamento, range, onsets, and dynamics represent a small sample of
the melodic shapes and approaches used to inspire the composition of the advance vocal
études created for this study.
Compositional Method
The composition of original études for this project will be discussed further in a
subsequent chapter. Sketches based on preliminary étude and vocal technique research
began in December 2019. These sketches began as improvisations with a specific
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melodic construct in mind (e.g., long phrases, leaps from one register to another,
repetitive onsets, etc.). Each sketch varied in length from as few as four measures up to
sixty-four, and included a noted melody, chord changes or harmony, and tempo. All
sketches were also initially recorded for accurate recall. As the process evolved, these
sketches were increasingly informed by the results of the Voice Teacher Survey and the
culling of exercises from the reviewed voice technique recourses.
Approximately thirty sketches were completed for this project. Four have been
selected from that collection to be included here. These were chosen based on their
artistic metric and potential, and for their relevance to the four technical topics of study:
breath, registration, tone, and agility. As mentioned above, these are the matters most
commonly found in classical and contemporary voice études and voice pedagogy texts,
and the subjects indicated by the voice instructors surveyed here as being the most
helpful for study. These results also influenced the order in which these were composed
and the numbering of each étude, one through four. Études here are each indicated by a
number, title indicative of their lyrical content, and technical focus.
In most cases lyrics and syllable choices for the études were written after the
melody and harmony had been composed. The exception being Étude No. 3 – “Each
End” (onsets), in which the syllables were conceived of early on in the process to achieve
the desired technical goal. Likewise, development of the overall musical form of each
étude occurred later in the process. Here consideration was given to common jazz and
contemporary performance practices, as these études are intended to serve as performable
works.
67
Two transpositions are included for each étude (excluding Etude No. 4, which has
too wide of a melodic range to feasibly include multiple transpositions here), marked as
high and low voice. These keys were chosen following the model of the classical voice
étude collections reviewed as part of this study. They do not directly correlate to any
gender and voice type. All études are notated in treble clef, with the expectation that they
would be sung an octave lower (8vb) if necessary. This is in line with the common
nomenclature of this style. If a student had any question as to which key was best suited
to their voice, they should consult their voice teacher. It is possible that these two
transpositions will not be adequate to serve every voice type or vocalist. Therefore, a
published form of these studies would ideally include a digital means to transpose these
pieces into any key based on need.
Summary
This chapter outlined the methods of research undertaken here, detailed the
procedure and findings of the voice teacher survey, summarized practical information
derived from selected voice technique resources, and describe the general process of
composing original advanced jazz and contemporary voice études. All of these methods,
and the information derived from the sources referenced, directly or indirectly influenced
the compositions that follow. The next chapter goes into further detail regarding the
composition of each étude.
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Chapter 4
COMPOSITION OF ORIGINAL ÉTUDES
Chopin has been described as writing his études with as a link to the school,
“addressing one principal technical problem in each piece and crystallizing that problem
in a single shape or figure.” As Schumann remarked regarding the études of Chopin,
“imagination and technique share dominion side by side.”114 Humbly, this has been the
goal with the voice études composed for this project. What follows is a description of the
overall writing process and an explanation of the technical and artistic themes contained
within each étude.
Sketches of the four études included here began in early December 2019. Based
on voice technique recourses and later confirmed by the voice teacher survey, four
technical and two musical concerns were chosen as first priorities. The technical concerns
were, in order of importance, breathing, registration, agility, and tone (which is addressed
primarily through either onset or portamento exercises). The two top musical concerns
were dynamics and phrasing. In the style of the études of Chopin, Vaccai, and others each
étude is designed to address one principal issue. It is however noted that fundamental
constructs such as these are present in some way in every melody sung.
Special care has been taken to develop pieces that signify acute challenges in the
aforementioned specific areas. What may present an acute challenge for one vocalist may
not for another. Thus, the concept of difficulty is subjective in nature and will be differ
based upon a number of factors, including age, experience, voice type, etc. The études
composed for this project are intended for advanced jazz and contemporary vocalists.
114 Kornel Michałowski, “Chopin, Fryderyk Franciszek,” (Grove Music Online, 2001).
69
These singers are defined as those performing at or near a professional level, having had
a number of years of private study. They are also likely near the end of an undergraduate
degree or in a graduate degree in music. The études included here may ultimately be
appropriate as repertoire to be included in college-level recitals and juries, or in
professional performance.
Thus, similar to classical piano études, these compositions have the dual purpose
of “(1) concert repertoire––études demanding of a virtuosic technique for concert pianists
to cause a sensation at performances, and (2) practice repertoire––études of moderate
difficulty for the growing number of amateur pianists to use as tools to develop their
technical facility.”115
In places where direct influences from voice pedagogy texts or the voice teacher
survey can be identified, they have been indicated here. The complete versions of the
études composed for this project can be found in Appendix A.
Étude No. 1 – “Come Home” (breathing)
The first étude composed for this project focuses on breath management for
singing. There were two primary technical inspirations for this piece. The first is
Mathilde Marchesi’s “Messa di voce,” Exercise 174 (Example 1.4).116 This exercise led
to the inclusion of long, sustained phrases and dynamic swells throughout. This is most
common in the first section of the form, measures five through twenty. The second, and
115 Angelina Ngan-chu Au, “The Piano Étude in the Nineteenth Century: From the Acquisition of
Facility to Demonstration of Virtuosity” (PhD diss., University of Cincinnati, 1999), 6. 116 Mathilde Marchesi, Bel Canto: A Theoretical & Practical Vocal Method, (New York: Dover
Publications, 1970), 39.
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primary, inspiration technically for this piece were the breathing exercises included in
Richard Miller’s The Structure of Singing. Measures twenty-one through thirty-six of this
piece draw heavily from Miller’s “Quick Renewal” (Example 1.2.) exercises.117 Thus a
number of the possible challenges of breath management are engaged here by including
both of these distinctive phrase shapes and approaches.
For this to be effective Miller notes that, “rhythmic accuracy should be carefully
observed, including the duration of the final note” of each phrase.118 Jazz and
contemporary vocalists are accustomed to freedom in phrasing and rhythmic variations of
the melody, and therefore may find some difficulty initially following this guideline.119
This approach could in some ways be caused by the lack of detail or instruction evident
in jazz and contemporary lead sheets. Unlike a majority of classical scores, lead sheets
rarely offer guidance in where or when to breath. This allows singers of these
contemporary styles the freedom to choose how often and where they will breathe. It may
also allow them to avoid singing longer phrases that require superior breath management.
The melodic range of this étude is relatively small (a minor tenth) compared with
others included in this project. Often phrases traverse no more than the interval of a
perfect fifth. When considering transposition, the intention is that this song be sung
comfortably in a chest or chest-dominant vocal register. The transpositions included here,
high and low voice, are a fourth apart, which should offer a reasonable starting point for
all voice types. The longest phrases are just over four measures long. At the suggested
117 Richard Miller. The Structure of Singing: System and Art in Vocal Technique (New York: G.
Schirmer, 1996), 35. 118 Ibid., 35. 119 Cherilee Walker, “Pedagogical Practices in Vocal Jazz Improvisation,” (PhD diss., University
of Oklahoma, 2005), 149.
71
tempo of one-hundred-forty beats per minute, these seventeen beat phrases take just
under eight seconds to sing. This is quite possible to sing, given an appropriately full
inhalation is taken in preparation.
The lyrics of this étude describe a solo trip to Iceland and the feeling of being
alone so far away from home. The other-worldly rugged landscape of Iceland serves as
the inspiration for much of the imagery, as does the unfortunate experience of being
trapped in the Reykjavik airport for over twenty-four hours as many flights were delayed
or cancelled due to weather. The common goal for many of the lyrics of these études is
clarity and simplicity of vowel, while maintaining poetic integrity and a consistent
aesthetic. The words “home” and “free” are common in this piece for just this clarity of
vowel.
Overall, the essence of this piece is a calm renewal of energy. This is highlighted
both by its sense of place (whether that be home or the natural serenity of Iceland) and its
emphasis on breathing. The long, but simple, melodic lines also communicate this
concept of calming energy. Harmonically it is generally diatonic, with brief excursions
outside of the tonic key (e.g., measures thirty-two and thirty-six) that develop mild
tension, propelling the harmony gently forward. Harmonic rhythm (i.e., the number of
chords per measure) is relatively slow compared to the other songs written for this
project. The slower pace of the harmony is also meant to contribute to this sense of calm.
Étude No. 2 – “The Clouds” (registration)
The second étude composed for this project focuses on vocal registration. Again,
Richard Miller has been a source of inspiration. Though minor liberties have been taken,
the first two measures of this melody are correlated to his exercise titled “Inducing Head
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Mixture in Middle Voice,” (Example 3.4).120 This initial melodic shape led naturally to
all that follows. The general goal of developing vocal registration is to balance the two
primary registers, head and chest (i.e., light or heavy mechanism, etc.), as well as the
combination of the two, often referred to as the mixed register. A smooth transition
between the registers is often desired, as well. The melodic contour of this piece is
designed specifically to require regular, and sometime extreme registration shifts and
reside in each of the registers for a relatively similar amount of time.
In terms of range, this étude, with over two octaves in its melodic range, is
purposefully challenging compared to the first in this collection. There are additionally a
number of large melodic leaps. Some of these leaps are larger than a seventh, though
many the phrases intentionally begin in the comfortable middle range of the voice or
where the previous phrase ended.
Each vocalist (and voice type) is different and will have their own unique
registration challenges and abilities. It is critical, therefore, that this étude be transposed
into the appropriate key to achieve the desired effect. When considering transposition, the
intention is that this song be sung comfortably, while still requiring a number of
registration transitions. The transpositions included here, like Étude No. 1, are a fourth
apart, which should offer a reasonable starting point for all voice types. A majority of the
melodic phrases are two measures long. Thus, breathing should not be a particular
technical concern.
120 Richard Miller. The Structure of Singing: System and Art in Vocal Technique (New York: G.
Schirmer, 1996), 143.
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The lyrics of this étude are a rough adaptation of the Percy Bysshe Shelly poem
“The Cloud,” published in July of 1820. The cloud in Shelly’s poem is a metaphor for the
unending cycle of nature. He endows his cloud with sentient traits. In the original lyrics
of this song, the clouds are depicted as being deeply in love with the elegant Moon in the
first verse, and in the second, in awe of the heroic Sun. The clouds are an obvious
analogy for the soaring melodic leaps inherent in a study of registration.
At the core of this étude is the idea of effortless transition and travel. The constant
melodic leaps are meant to be approached quickly and seamlessly––as a cloud glides
many hundreds of miles effortlessly in the breeze. The soaring arch of these melodic lines
are meant to provide ample practice for the technical focus, while again remaining
aesthetically pleasing. This piece also includes mostly diatonic harmony, with brief
excursions outside of the tonic key (e.g., measures twelve and twenty-two) that develop
tension and propel the harmony forward. Care has been given, however, to compose
chord changes highlighting upper extensions and seventh chord structures, as is indicative
of jazz and contemporary compositions. There is a consistent harmonic rhythm, generally
one or two chords per measure. This constant pace illustrates a steady, peaceful
progression appropriate for the subject matter.
Étude No. 3 – “Each End” (onsets, tone)
Vocal onsets and tone are the technical goals of this third étude. There are three
types of vocal onsets: glottal, aspirate, and balanced—each determined by the order of
operations of breath and vocal fold engagement. A balanced onset, when breath and vocal
fold engagement happen simultaneously, is generally the most preferred onset because it
leads to a free and clear vocal tone. Commonly this is developed in vocal exercises by
74
completing a series of quick onsets followed by a longer, sostenuto phrase. An example
of this has been illustrated in the exercise by Richard Miller, represented here in Example
4.2. In order to specifically focus on the onset of the tone, it is often helpful to start the
sound on a pure vowel, as consonants can conceal the attack of the sound. Breath is just
as important to success in the production of balanced tone as the adduction, or the coming
together, of the vocal folds. Thus, it is also essential that the inhalation just before the
phrase is taken in the same quiet, efficient, quick manner as in any exercise.121
The melodic range of this étude is relatively small (a minor tenth) compared with
others included in this project. Often phrases traverse no more than the interval of a
perfect fifth. When considering which transposition, high or low, should be used, decide
which key will facilitate the melody being sung comfortably in the chest or chest-
dominant vocal register. The transpositions included here, high and low voice, are a
fourth apart, which should offer a reasonable starting point for all voice types. The
longest phrases are just over four measures long. At the suggested tempo of one-hundred-
forty beats per minute, these seventeen beat phrases take just under eight seconds to sing.
This is quite possible to sing, given an appropriately full inhalation is taken in
preparation.
The lyrics of this étude, titled Each End, explore a common desire to understand
and categorize and label the world. A general feeling expressed here could be expressed
as follows, “perhaps there is no ending, only an infinite continuum of life.” These lyrics
also exhibit an ironic play on the technical focus of this étude—as onsets are the start, not
the end (offsets) of the sound. The notes and phrases of both A sections, or verses, of this
121 Richard Miller. The Structure of Singing: System and Art in Vocal Technique (New York: G.
Schirmer, 1996), 114.
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song consist almost entirely of words that begin with vowels—this is an attempt to
clearly feel and hear each onset and its connection to the consequent tone produced.
This piece incorporates a consistently detached rhythmic pulse. A pulse which is
clearly present in both the melody and the accompaniment of this song. The symmetry of
the phrases and the staccato attacks evoke the ticking of a clock. The never-ending
revolutions of the clock and the cumulative nature of the passing of time may also be
helpful analogies when describing this étude and its goals. As again, the consistent onset
determines a consistent vocal tone. A lydian tonality (the major scale with a raised fourth
scale degree) dominates the initial sections of this song. The bridge is tasked with subtly
altering this tonality by pivoting to the key of the natural four chord, a progression
common in jazz and contemporary music styles. The coda is a hemiola of phrases, as the
melodic phrase, which is three measures, overlays on top of a harmonic progression that
lasts four measures. Consistent chord changes, and accompaniment pattern, are present
throughout both of the first two sections. This looping accompaniment effect is again
common in contemporary music. Unlike the first two études here, this composition is up-
beat, full of rhythmic vitality, and groove orientated.
Étude No. 4 – “Field and Stream” (agility)
The primary focus of the last étude in this collection is agility. Though, the long
phrases and abrupt intervallic leaps of this melody correspondingly demand thoughtful
management of the breath and mobility throughout the complete vocal range.
Predominantly, this song is a study in descending melismas.122 These melodies are almost
122 A melisma is a group of notes sung to one syllable of text. In jazz and contemporary music they
are commonly referred to as “digital patterns,” “runs,” or “riffs.”
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entirely major scale melodic fragments or patterns within the major pentatonic scale.
Runs, riffs, melismas, and digital patterns on the pentatonic scale are used frequently in
jazz and contemporary music. Fast patterns should ideally be approached at a slow tempo
at first, ensuring pitch accuracy and comfort through any necessary registration
transitions, before attempting performance tempo. Manual Garcia’s, “Runs or Divisions
(Two Variations),” shown in Example 2.2 above, and Anne Peckham’s, “Pentatonic
Sixteenths,” shown above in Example 2.3 were both inspirations for the melody of this
étude.123 As stated previously in this essay, vocal agility is “freedom from muscular
tension and reliance on steady air pressure.” Therefore, working on a variety of melodic
patterns, as are presented in this piece, can help develop the ability to easily and
consistently navigate throughout the entire range of the voice.124
Similar to Étude No. 2, the melodic range of this étude is vast, spanning over two
octaves. Melismas often traverse over an octave within just a few beats. This large range
has made it difficult to create multiple transpositions to be included in this essay, as the
choice of key may be unique to each singer. In a final published version of this étude it
may be necessary to present alternative melodic options for those vocalists who wish to
perform the song but do not possess the range to sing all the phrases comfortably. The
phrases of this piece are also generally quite long, which require efficient breath-
management in order to navigate. The final étude of this collection represents the greatest
overall challenge of all the pieces included here for its length and the demands it places
on virtually every aspect possible of vocal technique.
123 Manuel Garcia, Hints on Singing, (New York: E. Schuberth & Co, 1894), 27; Anne Peckham,
The Contemporary Singer: Elements of Vocal Technique, (Boston: Berklee Press, 2000), 114. 124 Ibid.
77
The initial lyrical concept of Field and Stream was the analogy of the rippling of
running water in a stream and its connection to free vocal agility. This quickly evoked a
recent memory of camping in the Smokey Mountains, the dangling of feet into mountain
streams, hiking winding paths over hills and through forests and happening upon wide
open fields of yellow grass. The lyrics to these melodic shapes presented a unique
challenge. It initially difficult to decide how many syllables to write per note. Many of
the melismatic patterns of this étude are made more or less comfortable by adding or
subtracting a syllable, or altering the vowel assigned to any particular melodic run.
Where possible poetically, fewer syllables have been chosen to allow for more
opportunity to approach each melodic pattern on a single vowel. This presents a higher
level of difficulty in clearly articulating each pitch, while also flowing freely through the
phrase. Again, the inspiration of nature has been a vast and renewable artistic resource,
and it clearly on display in the lyrics of this étude.
The goals of this piece are visibly and strikingly evident at first glance. The
unrelenting nature of the melodic patterns here evoke jazz bebop lines or rhythm and
blues vocal runs. There is an attempt to change the pace in the bridge of the song (section
C), but even these sustained melodic fragments quickly give way to a series of plunging
descending scaler patterns. The accompaniment arrangement, which is generally diatonic
but presented in a repeated pattern that is rhythmically syncopated, lends additional
kinetic energy to the song. The instrumental component of this étude proved critical to
the development of this composition, and perhaps therefore has been much more
developed. Specific notation has been included in this lead sheet for this reason.
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Harmony and Form
Harmony and form, along with lyrical content, are the primary areas in which the
proclivities and aesthetic of the composer of an étude can be most clearly expressed.
Melodic shapes that address vocal agility or the transition through registers can be found
in countless vocal exercises and the common repertoire of almost every style. Therefore,
it is the context into which these melodic figures are set that provides the utmost
opportunity for creative expression.
The term jazz can convey different meanings in different contexts. Many agree
that jazz is an American musical artform first developed in the 20th century. The process
of improvisation, or spontaneous composition, is central to this music.125 Jazz as a style is
“characterized by syncopation, melodic and harmonic elements derived from the blues,
cyclical formal structures and a supple rhythmic approach to phrasing known as
swing.”126 While modern jazz, in its many forms, does not always include swung eighth
notes, the cyclical formal structures, are still common. Extended and non-functional (or
non-cadential) harmony is also common in modern jazz.127 Throughout the history of
American music, jazz has established many crucial conventions later adopted in popular
contemporary music styles.128 These include the aforementioned cyclical form structures
and non-functional harmonic characteristics. The four études composed for this project
125 Leonard Feather, The New Edition of the Encyclopedia of Jazz: Completely Revised, Enlarged
and Brought Up to Date. New York: Bonanza Books, 1962. 126 Mark Tucker and Travis A. Jackson, “Jazz,” (Grove Music Online, 2001). Accessed December
14, 2019. 127 Ibid. 128 Charles Hamm, Robert Walser, Jacqueline Warwick, and Charles Hiroshi Garrett, “Popular
Music,” (Grove Music Online, 2014). Accessed December 14, 2019.
79
all fall in various places along the continuum of this musical tradition, which is in line
with the compositional aesthetic of the author.
The repeated sections of these études, whether labeled in terms more often used
by jazz (e.g., A section, B section, etc.) or by contemporary musicians (e.g., verse,
chorus, bridge, etc.), clearly display this cyclical formal structure. They have been
composed with the possibility or option of including improvisational sections as part of
performance, but improvisation is not necessary for these pieces to be performed
effectively. The interplay between the melodic lines and the chord progressions is written
in a way that often emphasizes altered extensions or upper structures of the harmony.
This is a common compositional technique in both modern jazz and contemporary music.
In terms of notation, the chords have often been expressed with a high level of detail (i.e.,
Fmaj9#11, instead of F). This level of detail is more in line with common practice in jazz
music notation but does not necessarily imply jazz chord voicings.
As mentioned in the Delimitations section of this essay, musical style,
improvisation, and interpretation have all been purposely excluded from this discussion.
As Marchesi said, “there are only two vocal schools in the whole world: the good, from
which the best results are obtained, and the bad, in which the reverse is the case. The
same may be said with regard to style.”129 Though these compositions have been written
from the unique perspective and emanate from the author’s personal aesthetic, they are
intended to be performable by a wide variety of artists and in multiple styles. For
example, it is conceivable that Étude No. 1 could just as convincingly be performed as a
129 Mathilde Marchesi, Bel Canto: A Theoretical & Practical Vocal Method, (New York: Dover
Publications, 1970), xviii.
80
slow folk song with acoustic guitars, a backbeat R&B ballad with electronic drums and
synthesizers, or a jazz ballad with acoustic piano trio.
Lyrics
The primary focus of the lyrics written for these original études was to enhance
the effective development of the intended technical goals. Wherever possible, preference
was given to words that include pure vowels and enhance the articulate flow of each
melodic line. The secondary, but equally important, goal of these lyrics was to evoke a
strong and consistent idea or feeling. Both the intrinsic thematic intents and technical
goals of the lyrics written for this project are critical to the efficacy of these études and
thus were decided upon at the beginning of the writing process. Moreover, all of the
lyrics written for the songs included here have been inspired in some way by the rugged
beauty and mystery of nature. This has long been an interest of the author’s and a central
focus in much of his music.
Rhyme scheme is the ordered pattern of rhymes at the ends of the lines of a poem
or verse. This lyrical device has been applied in these compositions to create phrases that
imply form and elicit interest. The types of rhyme schemes employed here closely match
the forms used in jazz and contemporary music (e.g., A, A, B, or A, B, A, B).
Manipulation of these patterns represent yet another opportunity for creative expression.
The rhyme schemes of these études are indicative of the author’s lyric writing style.
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Vocal Exercises Derived from Études
Technical vocal exercises are one of the primary tools used by teachers in voice
lessons. More than half (55%) of private instructors surveyed here believed they were the
most effective way to learn voice technique. Thus, it followed logically to include
exercises along with the original études created for this project. Between two (2) to five
(5) exercises in the model of those presented in voice pedagogy texts have been derived
directly from the melody of each original étude. They are presented along with each
étude here in Appendix A. In the context of a book format for publication, these exercises
would precede each étude coinciding with brief explanations of the technical concepts
explored and a descriptive lyrical analysis. Students might be expected to engage with
these exercises before attempting the entirety of the étude––though some teachers may
wish to explore the challenges of the étude before breaking issues down into its smaller,
more specific elements. In addition to the lyrics of particular melodic extractions,
alternative syllables have also been suggested. These suggestions were again modeled
after those found in voice pedagogy resources.
Each exercise included in the technical considerations materials that supplements
each étude was meant to function much the same way as any voice exercise. Specifically,
they can and should be transposed up and down, by whole or half-step, throughout the
range. If a melody or exercise presents particular difficulty, it is often advised to start the
exercise in a more comfortable part of the student’s range before transposing it up to the
original, or perhaps even higher or lower, tonal center. Additionally, exercises in the
areas of breath and agility may be slowed down or sped up to ensure accuracy and
present an appropriate challenge. Chord symbols accompany each exercise in order to
82
give context and support for both the student and teacher. As it is sometimes less helpful
to play the melody of the exercise along with the student and instead advantageous to
play a chord for the student to sing over. This also provides a smoother transition from
exercise to performance practice and emulates the written piano accompaniment of many
of the exercises examined in the voice pedagogy texts discussed above.
Instructors should feel free to liberally derive their own exercises from these
études or use patterns they may be more comfortable with in order to prepare their
students to address the technical issues presented. The goal of including these exercises is
to present a clear and accessible relationship to the technical concepts inherent in these
études and provide additional exercises for use in the study of voice technique.
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Chapter 5
CONCLUSIONS
For jazz and contemporary voice teachers, the need for effective teaching
materials remains significant. The research presented in this document has ultimately
informed the composition of four voice études that serve as technical studies and express
this author’s voice as a songwriter. This research consisted of a survey of notable études
and studies (both instrumental and vocal), a compilation of technical concerns described
in the most widely used voice pedagogy resources, and a survey of college-level applied
voice teachers currently teaching in classical, jazz, and contemporary voice departments
in the United States.
The étude as a form has not been widely adopted in the areas of jazz and
contemporary voice. Yet, like instrumental études in classical instrumental music, there
remains a number of potential benefits for its use. As Angelina Ngan-chu Au noted in the
conclusion to her 1999 dissertation, while piano études no longer enjoy the same
dramatic reception as they did in the 19th century, the genre, “with its unchallenged
pedagogical and musical values, remains a staple in both practice and performance
repertoires today.”130
The preceding review of the literature briefly surveyed études in jazz and
contemporary music and described some of the noteworthy examples of études in the
classical repertoire. Voice pedagogy texts and the voice teachers that developed them
have also been discussed above. The goal of these inquiries was to gain a better
130 Angelina Ngan-chu Au, “The Piano Étude in the Nineteenth Century: From the Acquisition of
Facility to Demonstration of Virtuosity” (PhD diss., University of Cincinnati, 1999), 142.
84
awareness of this compositional form and its use in teaching, and more clearly define the
technical aspects of singing.
Along with more well-known piano compositions, études have been used in
classical voice study since at least the early 18th century. During the 19th century, with the
beginnings of serious scientific research on the voice, the ascension of a staggering
number of influential voice teachers set many of the standards of pedagogy followed in
the field today. This period also produced the largest wealth of voice étude collections.131
These collections of “melodies without words” offered the student a near optimal “union
of all the difficulties of song.”132 Many of the texts these teachers published during this
time remain in use.
This form has not entirely retained its popularity or function in the decades since.
Jazz étude collections tend to focus on building rhythmic, melodic, and harmonic
language for use during improvisation. Notably, technique is not often approached in
these resources. For the contemporary vocalist, the selection of études is much more
limited.133 The texts that are available from the 1990s and 2000s seek to bridge the gap
between classical vocal technique and popular styles.134 These texts also place more
emphasis on the style and interpretation of contemporary music singing. All of these
resources have a significantly different focus than what has been attempted here.
Voice pedagogy texts have been reviewed here in order to inform the technical
and musical concepts studied in the original voice études of this project. Many of these
131 Jonathan Greenberg, “Singing” (Grove Music Online, 2014). Accessed January 27, 2020. 132 Manuel Garcia, Hints on Singing, (New York: E. Schuberth & Co, 1894). 133 Contemporary is a term widely used in higher education to describe popular or commercial
music. Some schools call this contemporary commercial music, or CCM, while others describe it directly by genre (e.g., rock, pop, r&b, soul, etc.).
134 An example of one of these early texts: Pop/Rock Warm-Ups by Alan Billingsley and Roger Love, published by Belwin Mills in 1992.
85
resources are widely used as textbooks or supporting materials in collegiate vocal
pedagogy courses. And although some controversies remain regarding the principal
technical solutions, the leading scholars in the field are largely unified in identifying the
common voice challenges. These technical challenges are primarily breathing,
registration, tone, agility, resonance, and articulation.
A survey of twenty applied jazz and contemporary voice teachers was conducted
at the start of 2020. College level applied voice instructors from many of the country’s
leading institutions in these fields participated in the survey. In addition to learning about
these instructors’ approach to teaching vocal technique, additional goals of the survey
included discovering if any of the teachers surveyed had composed music either
explicitly or inadvertently for their students, and to gauge interest in using études as a
tool for instruction. The information collected by this survey aided in the composition
and formatting of études included in this project.
A majority of the instructors surveyed sometimes or never use études in their
teaching. These teachers prefer to use independent exercises to develop technique. The
lack of resources of this type for jazz and contemporary voice teachers may account for
this, though more research is needed to confirm this suggestion. According to these
instructors, registration, breath, and tone were noted as the most important technical
aspects to include in a jazz or contemporary étude. Regarding the musical aspect of
singing, phrasing was ranked the highest, followed by articulation, and dynamics. Many
of the instructors would prefer études without lyrics. Though when presented with the
option, many of the instructors would prefer to approach the études of this project both
with and without lyrics, with suggested syllables including alongside lyrics. Seventy-
86
three percent (73%) of teachers reported composing music specifically for their students
or generally for use in teaching. A follow up to this question for further research might
be, “how do you think the process of writing music intended for instruction has benefited
you and your students?” The proposed theory being that compositions by teachers for
their students may be more closely aligned with the student’s needs, as well as
representing a stimulating and invigorating process for both teacher and student.
In addition to the compositional goals already mentioned, the études for this
document emphasize formal and lyrical characteristics which make these songs
appropriate for performance. Not only does this potentially add to the efficacy of the
teaching materials created here, but also encourages a longer and more diverse period of
validity, one of live performance and studio recording, for these compositions. Each of
these études has a clear technical purpose and can be arranged in a course of study
progressively. Clarity to this degree presents an advantage to both the teacher and the
student, and the added performance aspect of the études may lead to greater interest, a
longer arch of engagement, and a more concrete sense of purpose. Though it is difficult
to define what makes a song appropriate for performance, here the assumption was made
that a song is appropriate for performance if it compares favorably to canonic jazz and
contemporary repertoire.
In order to reach the widest possible audience, allow for the highest degree of
individual expression, and limit the scope of this project, these études were written with
multiple possible interpretations or stylistic choices in mind. For similar reasons, at this
time improvisation was omitted from this discussion. All of this, however, may present
interesting material for further research and development.
87
As discussed above, études are much less common in jazz and contemporary
music. While there are notable collections and compositions in this area, these generally
tend to focus on the development of melodic and harmonic language for use during
improvisation.135 There has been little scholarship on the études or studies in jazz or
contemporary music, either from a pedagogically or compositional perspective. For many
students, the study of technique may prove uninspiring or even monotonous. Therefore, it
can be difficult for instructors to help their students develop technical proficiency while
also identifying and curating a broad program of stylistic and historically diverse music
for their students. Compared to classical music, the pedagogies of jazz and contemporary
music are fairly new, as is the library of resources that a student or teacher of these genres
has at their disposal. This relative lack of teaching materials has presented an opportunity
for a composer with pedagogical experience to make a noteworthy contribution to the
field. The project completed here attempts to take a modest step towards serving this
emergent audience and developing a model for future growth.
Further Research
This study was intended only as the first step of a larger project. The research
undertaken here will be utilized to develop additional études in this style. The four études
composed for this essay are meant to be combined with others of the sort and expanded in
a book format for publication, similar to collections by Concone, Lamperti, and
Marchesi, etc. This format may then be used as a template for future books of études or
135 John Turpen, “An Annotated Bibliography of Selected Jazz Saxophone Études Published
between 1960 and 1997” (PhD diss., University of Georgia, 1999).
88
collections of technical studies. These studies may be newly composed like those
included here or songs from the standard jazz and contemporary music repertoires (or
études directly influenced by these songs). The études included here have been composed
with advanced voice students in mind. It would likely be possible to subsequently work
backwards to compose intermediate and beginning studies from this point of superior
technical expectation.
The published version of these études would also include technical exercises
derived from the melodic content of the études and lyrical analysis. It is possible that they
may also contain information to guide improvisation over the harmonic structures of
these études or offer stylistic or interpretive guidance. Example recordings and full
rhythm section accompaniment (or play along) tracks would also be created to
accompany the written scores of these études formatted in the style presented by
Peckham and others. Future commercial recordings of these études in the style of Chick
Corea’s, Children Songs, may also be possible. Video recordings demonstrating
performance of these études and detailing potential teaching and learning strategies are
also highly desired.
Additionally, it may be possible or interesting to adapt any of the vast library of
classical études, studies, and vocalises for a modern audience. This might entail simply
altering the piano accompaniments to include chord symbols instead of or in addition to
written notation. Along with potentially adding lyrics or altering the form of the études to
more closely mimic music that is being performed by jazz and contemporary musicians
today. Or finally, it could mean creating collections of classical voice études that might
89
work together as a collection. These collections could be a useful starting point for
teachers and students new to these types of resources.
On a final personal note, I would like to say that the process of research and
composition described above has been extremely gratifying. I sincerely hope to continue
this work.
90
APPENDIX A – Four Advanced Jazz and Contemporary Voice Études
This appendix contains the four advanced jazz and contemporary voice études composed of this project. Three of the four études are presented here in high and low keys which correspond to range and voice type. A page of technical considerations precedes each étude. These supplemental documents include general guidelines to approaching the technical challenges of each étude, vocal exercises (with explanations) that can be used in part to develop the skills necessary to perform each étude, and a brief explanation of the poetic idea, or lyrical intent, of the song.
91
Étude No. 1 - Home Free (breath) Technical Considerations
!e focus of this "rst étude, Home Free, is breath. Proper breathing for singing involves a delicate balance of subglottic pressure, air#ow rate, and vocal-fold approximation, after "rst taking a well-timed, athletic diaphragmatic inhalation. !e long sustained phrases demand this athletic inhalation and e$cient, evenly management of air #ow, while the intermediate pauses in later phrases require repeated quick, e%ortless breath renewal. Perhaps unlike typical performance practice for repertoire in this style, rhythmic accuracy should be carefully observed, including the duration of the "nal note of each phrase.
Exercise 1.1: Long Sustained Phrase
Take a quiet and slow diaphragmatic breath and sing the following phrase on any vowel. If it is not possible to complete the phrase in one breath, either increase the tempo of the exercise or shorten its length. !e dynamics of messa di voce (swelled sounds), should only be attempted once the complete phrase can be sung comfortably and consistently at a medium dynamic throughout. !is exercise can be transposed up or down as desired to continue to develop the breath-management required.
Exercise 1.2: Quickly-Paced Renewal of Breath Energy
!e freedom to relax the glottis and to replenish the breath (not matter how quick a transition) is indicative of precise breath-phonation coordination. In this exercise, the vocalist must learn to regulate relatively quick inhalations without altering the position of singing. It is apparent that the singer does not need to renew breath between each note of this phrase. !e purpose is to develop the ability to relax the glottis with the breath, regardless of lung capacity. !e syllable “ho” as in “home” is suggested here, but any comfortable syllable will work just as well. As seen below, this exercise can again be transposed up or down as desired.
Poetic Idea: !e lyrics of this étude describe a solo trip to Iceland and the feeling of being alone so far away from home. !e other-worldly rugged landscape of Iceland serves as the inspiration for much of the imagery, as does unfortunate experience of being trapped in the Reykjavik airport for over twenty-four hours as my #ight, and the #ights of many other travelers, was delayed. During that time, and in my trip around the South-East coast of the island, I met a number of other solo tourists from all over the world who reported having both an eerily similar, yet undeniably di%erent experience to mine. !e sensation of being trapped on another planet and then suddenly home again has stayed with me for the many years since.
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Étude No. 2 - !e Clouds (registration) Technical Considerations
!e Clouds, the second étude in this collection, focuses on registration. !e general goal of developing vocal registration is to balance the two primary registers, head and chest (also known as light or heavy mechanism—and by many other names), as well as the combination(s) of the two, referred to here as the mixed register. It is also desired to achieve a smooth transition between the registers. Each vocalist and voice type is di"erent in this regard and will have their own unique challenges and abilities. All of the exercises below should therefore be transposed into the appropriate key to achieve the desired e"ect.
Exercise 2.1: Mixed to Head Registration
To start, choose a key in which you may begin this exercise in a comfortable part of your chest-dominant mixed register and transition up into your head register. Avoid a clearly audible transition between the registers while also connecting the phrase. For all of the exercises below, any vowel may be used.
Exercise 2.2: Transitioning from Mixed to Head, back to Mixed
Similar to the previous exercise in many regards—the di"erence being a larger initial intervallic leap into the transition from mix to head register, with the addition of a transition back down into the mixed register.
Exercise 2.3: Transitioning !rough the !ree Registers (chest, mixed, and head)
In addition to the previous register transitions explored, this exercise includes a #nal transition down into a pure chest voice position. Beyond the challenges of register shifts, it is important to #nd a comfortable key in which to navigate the large two-octave range of this melody.
Poetic Idea: !e lyrics of this étude are a rough adaptation of the Percy Bysshe Shelly poem “!e Cloud,” published in July of 1820. !e cloud is a metaphor for the unending cycle of nature. Shelley endows his cloud with sentient traits—in the lyrics of this song, the clouds are depicted as being deeply in love with the elegant Moon in the #rst verse, and in the second in awe of the heroic Sun. For an étude focused on soaring leaps in registration, covering the extremes of the vocal range, the clouds are an obvious analogy.
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Étude No. 3 - Each End (onsets, tone) Technical Considerations
!e third étude in this collection, Each End, is a study in onsets and tone. !e onset of the sound, more often than not, establishes the proceeding tone. !ere are three types of vocal onsets: glottal, aspirate, and balanced—each determined by the order of operations of breath and vocal fold engagement. A balanced onset, when breath and vocal fold engagement occur simultaneously, is generally the most preferred onset, because it leads to a free and clear vocal tone. !is should be the goal of all of the exercises below. In order to focus on the onset of the tone, it is helpful to start the sound on a pure vowel, as consonants can conceal the attack of the sound. If a balance onset on a pure vowel is di"cult, start each phrase instead on an m or n, or any other comfortable nasal vowel or voiced consonant.
Exercise 3.1: Onsets
!e #rst four notes of this exercise are meant to be as short as possible and sung on any pure vowel(s). !e goal is a balanced onset and consequent free, pure tone. !e crescendo at the end of the melodic line should only be attempted once a balance onset is consistently achieved. !is exercise can be transposed up or down to achieve a free tone throughout the range.
Exercise 3.2: Onsets with Leaps of a 7th and 5th
!is exercise represents an evolution of the exercise above. Depending on the key, this may mean concentrating on registration shifts along with the primary focus of balanced onsets. Any syllables may be used—the syllable “no” has been chosen here initially for its similarity to the lyrics in this section of the étude and for its ease of use.
Poetic Idea: !e lyrics of Each End explore a common desire to understand and categorize our world. We very often sort our lives through the labeling of beginnings and endings, young and old, in and out, etc. !e feeling expressed here is “perhaps there is no ending, only an in#nite continuum of life.” !is is also an ironic play on the technical focus of this étude—as onsets are the start, not the end (o$sets) of the sound. !e notes and phrases of both A sections, or verses, of this song consist almost entirely of words that begin with vowels—this is an attempt to clearly feel and hear each onset and its connection to the consequent tone produced.
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112
Étude No. 4 - Field and Stream (agility) Technical Considerations
!e primary focus of this last étude in this collection, Field and Stream, is agility—though the long phrases and abrupt melodic leaps of this melody also demand thoughtful management of the breath and comfort in one’s entire vocal range. !ough there are a numerous possible approaches to deriving exercises from this piece, this étude is predominantly a study in descending scaler-runs, as is made evident by the exercise patters below. Approach each pattern at a slow tempo at "rst, ensuring pitch accuracy and comfort through any necessary registration transitions, before speeding up to performance tempo.
Exercise 4.1: Descending Major Scale Pattern 1
For all three of these exercises, begin in a comfortable range of the voice, one in which does not require a transition of register to complete the pattern. !is may be sung on any vowel or vowel combination, or using any advantageous syllables (such as “siah” or “dah”).
Exercise 4.2: Descending Major Scale Pattern 2
Exercise 4.3: Descending Major Scale Pattern 3
Poetic Idea: !e initial concept for the lyrics of Field and Stream revolved around the analogy of running water in a stream––and its connection to free vocal agility. !is quickly evoked the recent memory of camping in the Smokey Mountains, the dangling of feet into mountain streams, hiking winding paths over hills and through dark forests, only to happen upon wide-open "elds of yellow grass. Again, the inspiration of nature is a vast and renewable artistic resource. !e main challenge in setting lyrics to these melodic shapes was deciding how many syllables to write per note. Many of the melismatic patterns of this étude are made more or less comfortable by adding or subtracting a syllable, or altering the vowel assigned to any particular melodic run. Each performer should feel free to make adjustments to this setting as they see "t
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APPENDIX B – Private Teacher Survey
The following is the applied teacher survey included in the research of this project. The primary aim of this survey was to assist in determining which technical and musical concepts would be most helpful to include in the original études written for this project. Additionally, the survey collected basic information on the private teachers currently in the field, discovered études commonly used in their applied voice instruction, and ascertained how many teachers have created teaching materials for their private lesson students. Étude Survey Questions Instructor Information: Please enter your name and teaching information (name, title, institution).
1. Which term or terms most clearly describes the musical style you teach? (select
all that apply)
a. Classical
b. Jazz
c. Contemporary (CCM, Commercial, Popular)
d. Musical theater
e. None of the above (enter text)
2. What level(s) of voice student do you most often teach? (select all that apply)
a. Middle schoolers or younger
b. High schoolers
c. Underclassmen undergraduates
d. Upperclassmen undergraduates
e. Graduate students
f. Professionals
3. In your experience, what is the most successful way to develop vocal technique?
(select all that apply)
a. Independent vocal exercises
b. Vocal exercises derived from repertoire
c. Repertoire
d. Vocal études
120
e. Ensemble singing
f. Other (please explain)
4. On average, how often do you use études in private lesson teaching? (note: an
étude here is defined as “a short work intended to focus on a particular technical
or musical facet of performance”)
a. Never
b. Sometimes
c. Often
d. Always
5. Which of the following etude collections have you used with students in the past?
a. Marchesi – 20 Vocalises, Op. 15
b. Vaccai – Practical Method
c. Sieber – Thirty-six Eight Measure Vocalises, Op. 93
d. Meader – Vocal Jazz Improvisation: An Instrumental Approach,
Intermediate & Advanced Studies
e. Peckham – Vocal Workouts for the Contemporary Singer
f. Other (please suggest)
g. None of the above
6. Please rank the technical concepts below from most to least helpful to be included
in a contemporary or jazz étude designed to develop vocal technique.
a. Breath
b. Tone
c. Registration
d. Resonance
e. Agility
7. Please rank the musical concepts below from most to least helpful to be included
in a contemporary or jazz étude.
a. Dynamics
b. Articulation
c. Phrasing
121
8. Are there technical or musical concepts not listed above that should be
considered?
9. Would you prefer vocal etudes with or without lyrics?
10. Regarding the previous question: why or why not?
11. Have you ever written a piece that a student of yours has performed? (If yes,
please describe the situation and piece)
122
APPENDIX C – Complete Survey Results
Following are the complete results of the private teacher survey, presented here for the purposes of transparency and data for further research. Analysis and conclusions draw from these results can be found in the Methodology and Conclusion chapters above. Question 1: Which term(s) below most clearly describes the musical style you teach?
(select all that apply)
# Answer % Count
1 Classical 16.28% 7
2 Jazz 44.19% 19
3 Contemporary (CCM, Commercial, Popular) 27.91% 12
4 Musical Theater 9.30% 4
5 None of the above (please explain) 2.33% 1
Total 100% 43 Comment: “Jazz is the least of my teaching, though I am required to teach is at my institution.”
123
Question 2: What level(s) of voice student do you most often teach? (select all that apply)
# Answer % Count
2 High school or younger 5.45% 3
3 Underclassmen undergraduate 25.45% 14
4 Upperclassmen undergraduate 29.09% 16
5 Graduate 21.82% 12
6 Professionals 18.18% 10
Total 100% 55
124
Question 3: In your experience, what is the most successful way to develop vocal technique?
# Answer % Count
1 Independent vocal exercises 30.56% 11
2 Vocal exercises derived from repertoire 22.22% 8
3 Repertoire 19.44% 7
4 Vocal études 13.89% 5
5 Ensemble singing 8.33% 3
6 Other (please explain) 5.56% 2
Total 100% 36 Other (please explain) – Comments It really depends on the student. I tailor a different approach for each. My institution requires the use of etudes (whether classical or jazz/contemporary. This would not be my preference/choice, but it is required of me.
125
Question 4: On average, how often do you use études in private lesson teaching?
# Field Minimum Maximum Mean Std
Deviation Variance Count
1 On average, how often do you use études in private lesson teaching?
1.00 5.00 2.40 1.31 1.71 15
# Answer % Count
1 Never 26.67% 4
2 Sometimes 40.00% 6
3 About half the time 13.33% 2
4 Most of the time 6.67% 1
5 Always 13.33% 2
Total 100% 15
126
Question 5: Which of the following étude collections have you used in the past?
# Answer % Count
1 Marchesi - 20 Vocalises, Op. 15 3.57% 1 2 Vaccai - Practical Method 21.43% 6 3 Sieber - Thirty-six Eight Measure Vocalises, Op. 93 3.57% 1
4 Meader - Vocal Jazz Improvisation: An Instrumental Approach, Intermediate & Advanced Studies 25.00% 7
5 Peckham - Vocal Workouts for the Contemporary Singer 14.29% 4 6 Other (please suggest) 25.00% 7 7 None of the above 7.14% 2 Total 100% 28
Other (please suggest) – Comments Concone Jim Snidero Jazz Conceptions, other etudes for sight-reading and other skills (written by myself), other sight-reading etudes from instrumental literature Individual exercises created for the student Concone, Panofka Concone, Faculty composed etudes I create my own rhythmic and melodic etudes Jim Snidero Vocal Improvisation
127
Question 6: Please rank the technical concepts below from most to least helpful to be included in a contemporary or jazz étude designed to develop vocal technique.
# Field Minimum Maximum Mean Std
Deviation Variance Count
1 Breath 1.00 5.00 2.67 1.49 2.22 15 2 Tone 1.00 5.00 2.87 1.67 2.78 15 3 Registration 1.00 5.00 2.60 1.31 1.71 15 4 Resonance 2.00 5.00 3.53 1.09 1.18 15 5 Agility 1.00 5.00 3.33 1.19 1.42 15
# Question 1 2 3 4 5 Total
1 Breath 33.33% 5 13.33% 2 26.67% 4 6.67% 1 20.00% 3 15
2 Tone 33.33% 5 13.33% 2 20.00% 3 0.00% 0 33.33% 5 15
3 Registration 26.67% 4 26.67% 4 13.33% 2 26.67% 4 6.67% 1 15
4 Resonance 0.00% 0 26.67% 4 13.33% 2 40.00% 6 20.00% 3 15
5 Agility 6.67% 1 20.00% 3 26.67% 4 26.67% 4 20.00% 3 15
128
Question 7: Please rank the musical concepts below from most to least helpful to be included in a contemporary or jazz étude.
# Field Minimum Maximum Mean Std
Deviation Variance Count
1 Dynamics 1.00 3.00 2.71 0.59 0.35 14 2 Articulation 1.00 3.00 1.71 0.70 0.49 14 3 Phrasing 1.00 3.00 1.57 0.62 0.39 14
# Question 1 2 3 Total
1 Dynamics 7.14% 1 14.29% 2 78.57% 11 14
2 Articulation 42.86% 6 42.86% 6 14.29% 2 14
3 Phrasing 50.00% 7 42.86% 6 7.14% 1 14
129
Question 8: Are there technical or musical concepts not listed above that should be considered? (Comments) time, feel factor, rhythmic element
onset (which may be considered articulation)
jazz vocabulary, rhythmic vocabulary, style (scoops, vibrato, fold compression perhaps)
Yes
Concepts that address muscle and tissue release for vocal freedom I would love more emphasis placed on release of tension (jaw, tongue, etc.). I'm inclined to give it an entire section, not just "resonance" or "registration." Authentic style, strengthening upper register, blending registers, legato singing, good pitch control timbre variety
Stylistic inflections
I’m having trouble with the choices because I don't Use etudes
130
Question 9: Would you prefer vocal etudes with or without lyrics?
# Field Minimum Maximum Mean Std
Deviation Variance Count
1
Would you
prefer vocal
etudes with or without lyrics?
1.00 2.00 1.71 0.45 0.20 14
# Answer % Count
1 With lyrics 28.57% 4
2 Without lyrics 71.43% 10
Total 100% 14
131
Question 10: Regarding the previous question: why or why not? (Comments) I like both for different reasons, but often I find the lyrics of vocal etudes corny or stilted depends on the student- can see use for both I like both- but it's good to work with words because it's important to learn to sing through the consonants I could use any song if I needed text I can use repertoire for lyric use. I prefer to have students simply focus on a particular skill when doing an etude. Anything with lyrics, I can write myself or use existing material. I like both, but you didn't give that option. If they have lyrics, you can always drop them or change them. But we generally sing with lyrics so it's helpful to have them to grapple with. It really depends on the student, but for most students it is difficult enough to focus on one thing without complicating the exercises with lyrics. I think students would connect more with something that has lyrics and be more likely to practice it. I personally would use my own tongue and jaw exercises on whatever melody was provided. If there were lyrics, I would likely remove them first anyway and only add them in when the student was ready. Changing shapes of words and vowels add another dimension of singing that often needs to be addressed in vocal technique to achieve a more instrumental approach For jazz etudes, I utilize scat syllables that reflect specific rhythmic articulations and melodic movement. I prefer focusing on concepts other than lyric or interpretation. I prefer to be more “exercise” oriented. focus on the voice, not expression
132
Question 11: Have you ever written a piece that a student of yours has performed?
# Answer % Count
1 No 26.67% 4
2 Yes (please describe the situation and piece) 73.33% 11
Total 100% 15 Yes (please describe the situation and piece) – Comments: Many times, students have performed pieces of mine in recitals and concerts
students have performed my pieces on their recitals
Several compositions of mine have been performed and recorded by students
Original songs for choir and soloist, also rhythm etudes performed in a class setting
One of my original songs, a student chose to perform it at a conference
A student performed a song I wrote during a jazz voice workshop concert.
Jazz ballad etude, Latin vocalese, pentatonic pattern exercises all for final exams
I've composed solos and a full musical theatre production
Various songs or arrangements have been used by students or choirs.
jazz songs
133
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