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For more information, contact:
Escuela Los Adioses info@orquestadelosadioses.com
Ross Gala: (+34) 649 32 47 88
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vocal jazz academy
course descriptions
“INSTRU-VOCAL” ARTICULATION OF DRUMS, BASS & BRASS INSTRUMENTS
Vocal articulation of contemporary drumbeats, bass lines and brass articulations using rhythmic patterns, special tonguing techniques and vocabulary for each of these instruments. Bob's "instru-vocal" approach to improvisation stems from a long history of playing musical instruments since he was a child. With years of extensive coaching on trumpet, bass, drums and flute behind him, he entered the vocal arena serendipitously in 1978 as a “scat” singer extraordinaire. In retrospect, Bob's interest in singing made perfect sense considering all the academic and professional performing experience he had playing in classical, jazz and contemporary music ensembles. The combination of listening to recordings and live performance opportunities provided Bob with a keen ear and diverse palette of stylistic colors to make music with. This desire to “play” the voice like a musical instrument was a natural and significant transition in Bob's musical career!
One of the more popular modes of vocal expression has always been the simulation of musical instruments. “Instru-vocal” languages were successfully explored by many singers including Ella Fitzgerald, Louis Armstrong, John Hendricks, Al Jarreau & Bobby McFerrin who all ventured into the realm of interpreting percussion, bass and a variety of horns within their solos. Vocalists who have a passion for instrumental articulation will enjoy Bob's call-response exercises that define the nuance of these instruments by using vocabulary especially designed for the voice.
SCAT SINGING
Using call-response and round-robin story-telling formats, Bob will teach scat singing techniques including scat syllables, accents, rhythms, phrasing, melodic and harmonic considerations, and how to improvise a solo over basic chord progressions like blues, rhythm changes and basic turn-arounds. Participants will practice improvising solos to jazz standards from Bob’s “Recipes” book, beginning with Summertime and All of Me. As the course progresses, singers will enjoy the continuation of scat singing techniques with application of more advanced syllables, accents, rhythms, phrasing, melodic and harmonic considerations.Participants will continue learning how to improvise a solo to additional American jazz standards from Bob’s “Recipes” book, including Girl From Ipanema, Autumn Leaves and more.
RHYTHMANIA!
This session will serve as a comprehensive guide for vocalists to practice rhythmsGROUP IMPROVISATION GAMES
STAGE PERFORMANCE TRAINING
Stage Performance Master Class is perhaps the most popular training session Bob offers to singers interested in solo performance. This comprehensive session embraces all contemporary styles of music. Vocalists will be excited to learn how to execute appropriate band cues for count-offs, cut-offs, repeats, turnarounds and changes in tempo. Songs will be interpreted in different styles by applying various time feels commonly used to change the groove. Essential vocabulary and instru-vocal communiqué will be reviewed to prepare singers for the future role of bandleader or performance artist.
This session also offers musicianship training to vocalists interested in performing with the rhythm section during the final concert. Each participant will receive a review of stage performance skill protocol for the song they have selected to perform, include count-off & cut-off rhythm section cues, intros, endings stage presence and style interpretation.
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Is the Vocal Jazz Academy right for me? This special program is for intermediate and advanced singers and teachers who want to develop their rhythmic, stylistic and theoretical skills in vocal improvisation. An mp3 audition is required for acceptance. Students will have reasonable homework assignments and be asked to submit mp3s to Bob before the third and final sessions. Students will receive individual evaluations of these submissions from Bob. Note: Singers enrolled in the certification program participate both in the Jazz Academy and the Creative Vocal Ensemble. |
course descriptions
“INSTRU-VOCAL” ARTICULATION OF DRUMS, BASS & BRASS INSTRUMENTS
Vocal articulation of contemporary drumbeats, bass lines and brass articulations using rhythmic patterns, special tonguing techniques and vocabulary for each of these instruments. Bob's "instru-vocal" approach to improvisation stems from a long history of playing musical instruments since he was a child. With years of extensive coaching on trumpet, bass, drums and flute behind him, he entered the vocal arena serendipitously in 1978 as a “scat” singer extraordinaire. In retrospect, Bob's interest in singing made perfect sense considering all the academic and professional performing experience he had playing in classical, jazz and contemporary music ensembles. The combination of listening to recordings and live performance opportunities provided Bob with a keen ear and diverse palette of stylistic colors to make music with. This desire to “play” the voice like a musical instrument was a natural and significant transition in Bob's musical career!
One of the more popular modes of vocal expression has always been the simulation of musical instruments. “Instru-vocal” languages were successfully explored by many singers including Ella Fitzgerald, Louis Armstrong, John Hendricks, Al Jarreau & Bobby McFerrin who all ventured into the realm of interpreting percussion, bass and a variety of horns within their solos. Vocalists who have a passion for instrumental articulation will enjoy Bob's call-response exercises that define the nuance of these instruments by using vocabulary especially designed for the voice.
SCAT SINGING
Using call-response and round-robin story-telling formats, Bob will teach scat singing techniques including scat syllables, accents, rhythms, phrasing, melodic and harmonic considerations, and how to improvise a solo over basic chord progressions like blues, rhythm changes and basic turn-arounds. Participants will practice improvising solos to jazz standards from Bob’s “Recipes” book, beginning with Summertime and All of Me. As the course progresses, singers will enjoy the continuation of scat singing techniques with application of more advanced syllables, accents, rhythms, phrasing, melodic and harmonic considerations.Participants will continue learning how to improvise a solo to additional American jazz standards from Bob’s “Recipes” book, including Girl From Ipanema, Autumn Leaves and more.
RHYTHMANIA!
This session will serve as a comprehensive guide for vocalists to practice rhythms
using a unique vocabulary designed to emulate the sounds of musical instruments.
- Learn how to read and notate simple rhythmic phrases
- Vocalize shakes, spills, plops, flips, bends, hits, flams, kicks, cymbal crashes and drum fills.
- Practice single, double, triple and doodle-tongue embellishments used to articulate scat syllables.
- Increase your rhythmic vocabulary
- Explore the nuances of jazz, pop, R&B, blues, funk, swunk and shuffle in even and swing feels.
- Examine the rhythmic ingredients that fuel Bossa Nova, Samba, Baion, Mambo, Songo and Guaguanco grooves.
Bob’s unique approach to group improvisation teaches singers how to create music by weaving together spontaneous rhythmic, melodic and harmonic motifs. Group Improvisation Games offers a diverse palette of musicianship skills to the a cappella vocal ensemble including composition, tonality, harmony, dynamics, meter, instru-vocal articulation, motivic development, group blending, choreography and how to improvise using text. In addition, participants will develop confidence in their own intuitive musicality while learning about building community through both cooperation and leadership. The work deepens with the addition of background rhythm section tracks to provide rhythmic and harmonic scaffolds for vocal team improvisation. Emphasis on time feels, musical styles, groove variations and spontaneous composition.
STAGE PERFORMANCE TRAINING
Stage Performance Master Class is perhaps the most popular training session Bob offers to singers interested in solo performance. This comprehensive session embraces all contemporary styles of music. Vocalists will be excited to learn how to execute appropriate band cues for count-offs, cut-offs, repeats, turnarounds and changes in tempo. Songs will be interpreted in different styles by applying various time feels commonly used to change the groove. Essential vocabulary and instru-vocal communiqué will be reviewed to prepare singers for the future role of bandleader or performance artist.
This session also offers musicianship training to vocalists interested in performing with the rhythm section during the final concert. Each participant will receive a review of stage performance skill protocol for the song they have selected to perform, include count-off & cut-off rhythm section cues, intros, endings stage presence and style interpretation.
creative vocal ensemble
more about the ensemble
In addition to learning scored jazz choir arrangements, singers will develop interpretation and performance skills, and will receive musicianship training in the art of spontaneous group improvisation by applying techniques songwriters and symphonists use to compose vocal and instrumental music. This specialized training will instruct vocalists how to correlate spontaneous instru-vocal themes created by smaller designated sections within the group. This teamwork strategy underlines the intention of a musical cooperative, similar to the interaction of string, woodwind, brass and percussion sections in an orchestra, chamber group, wind ensemble or concert band. Each section adds to the composition by contributing complimentary rhythm, harmony, counterpoint and other essential musical components. Participants will have fun learning non-verbal communication hand cues and how to incorporate theatre techniques, body movement and a unique rendition of vocalese called “text improvisation.” The Creative Vocal Ensemble will give singers an opportunity to work in a highly motivated ensemble and enjoy a culminating concert experience.
Back to program overview
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Is the Creative Vocal Ensemble right for me? Singers should be motivated to come to rehearsals prepared. An mp3 audition is required for participation. Audio support will be available online tor each vocal line of each score - singers can learn their music from the score or by ear. The Creative Vocal Ensemble program includes scored jazz repertoire, improvised group selections, soloing as part of an ensemble, and Bob's original instru-vocal approach to improvisation. |
more about the ensemble
In addition to learning scored jazz choir arrangements, singers will develop interpretation and performance skills, and will receive musicianship training in the art of spontaneous group improvisation by applying techniques songwriters and symphonists use to compose vocal and instrumental music. This specialized training will instruct vocalists how to correlate spontaneous instru-vocal themes created by smaller designated sections within the group. This teamwork strategy underlines the intention of a musical cooperative, similar to the interaction of string, woodwind, brass and percussion sections in an orchestra, chamber group, wind ensemble or concert band. Each section adds to the composition by contributing complimentary rhythm, harmony, counterpoint and other essential musical components. Participants will have fun learning non-verbal communication hand cues and how to incorporate theatre techniques, body movement and a unique rendition of vocalese called “text improvisation.” The Creative Vocal Ensemble will give singers an opportunity to work in a highly motivated ensemble and enjoy a culminating concert experience.
Back to program overview
