Discover how to get started with scatting, the free-flowing form of vocal improvisation made famous by Louis Armstrong and Ella Fitzgerald.
No wonder critics called Ella Fitzgerald the First Lady of Scat. The jazz virtuoso could sprinkle melodic magic dust on nonsense syllables and elevate them to high art (just listen her playful ‘bibby bibby do dap’ on Cotton Tail).
While Ella made scatting look effortless, it’s anything but (if you want to do it well). As jazz expert Michele Weir explains on the Singing Teachers Talk podcast: “People who don’t know much about scatting think it’s frivolous. They don’t realise the depth of soulful communication and musicality involved when great jazz singers do it.”
But the rewards are high for singers who are willing to experiment with this form of vocal improvisation. Scatting is a great way for vocalists to improve their melodic, rhythmic and listening skills and to develop their creative identity.
On the podcast, Michele discusses vocal improvisation and reveals how to get started. Here’s a taster of what she had to say.
What is scatting?
Michele explains: “Scatting is a more organic version of what jazz instrumentalists do when improvising. An instrumentalist takes a set of chord changes and improvises based on those changes. So they’re outlining notes within the chord, outlining scales that work in the chord, and re-writing the song and making their own new melody.
“Scatting is the same thing; you’re making up your own melodies over a given chord progression but with syllables [instead of lyrics].”
Renowned scatters on the music scene today include Judy Niemack and Darmon Meader.
Why do people like scatting?
Throughout her international teaching career, Michele has lost count of the number of people who have asked her to teach them how to scat. “I think it’s because they’ve heard an artist who moved them. Connecting on an emotional level, and hearing something that resonates with you and reaches your heart, that’s a big aspect of jazz.”
Many singers are also attracted to the creative freedom of vocal improvisation.
Ways into vocal improvisation
“If someone doesn’t have some expertise, scatting can sound silly,” Michele admits. “Everyone’s universally nervous about it at first, so we need to get some experience under our belt.”
Start small
To begin, Michele recommends improvising a melody to a backing track. “Start with one little fragment and repeat it over and over and expand it or vary it. That’s how we approach scatting. We start with an idea and use it as our base system and then repeat it, play around with it and build a little story.”
Chord progression
“This is why backing tracks are important because you can work with that chord progression,” Michele says. “Some people with a good natural ear can begin doing notes that fit the chord changes. Otherwise, there are specific exercises you can do. Hearing the roots of the chords and singing on the bass note of every chord helps a singer get oriented toward hearing the context of the chord progression.”
Jam sessions
Once singers have familiarised themselves with the basics, jam sessions are the next step. “I love putting singers together and having them use a backing track,” Michele says. “I get them to sing the melody to the tune; they may take turns with another singer. One person sings the first eight bars, and somebody else sings the next eight bars. Then one person scats for the whole chorus once through the song, and then the next person does it.”
Use what you’ve learned
Don’t restrict your vocal improvisation efforts to the confines (and safety) of the studio. “Whatever you’re practising – be it syllables, rhythm, melody or hearing the changes – you need to go out there and use it. It’s good to learn the mechanics of how to ride the bicycle, but then you need to ride the bicycle.”
Learn more
Listen to the full interview with Michele, where she also discusses:
- Different jazz styles, from Early Jazz (developed in New Orleans) through to Bebop and Cool Jazz.
- The rhythmic structure of jazz.
- Her scatting app ScatAbility.