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感觉现代的爵士女生，scat越来越少了，bacha stevens, grechen palato,joss stone这些一线的爵士女声，几乎不玩scat
罗兰音乐学校针对爵士鼓音乐开设不同程度的培训班,进阶式培训,让爵士鼓音乐更全面.爵士鼓音乐咨询热线:400-685-9892
一直以來，scat都不是所有爵士歌手能做的好的需要高度音樂性的即興能力。做得不好的不太敢拿出來表演，但完全不能做到的基本上其實是流行歌手，算不上真的爵士歌手。現在的純爵士歌手非常少。音樂才女型的爵士歌手大部分都會scat。Becca Stevens不太熟，Joss Jones很少唱爵士。Grechen Polato有scat，Esperanza Spalding也很會。我覺得基本上爵士樂手兼歌手都沒問題，因為很多樂手私下練即興idea時就是用嗓子琢磨比較方便。有些歌手用scat但不一定是Ella，Sarah那個時代的傳統Bebop風格，而是有創新的方法。在法國那個韓裔女星（名字想不起來）就是個例子。
我的意思是，现在爵士乐的scat成分越来越少了。是不是意味着这是一种落后的即兴方式
哇，好吧，新手完全看不懂就是了…也就这样吧，脑补脑补
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is generally considered to be one of the greatest scat singers in jazz history.
In , scat singing is vocal
with wordless vocables,
or without words at all. Scat singing is a difficult technique that requires singers with the ability to sing improvised melodies and rhythms using the voice as an instrument rather than a speaking medium.
Though scat singing is improvised, the melodic lines are often variations on
fragments,
and , as is the case with instrumental improvisers. As well, scatting usually incorporates musical . All of 's scat performances of "", for instance, use the same , begin with a chorus of a straight reading of the lyric, move to a "specialty chorus" introducing the scat chorus, and then the scat itself.
has compared Ella Fitzgerald to
directing his —each uses predetermined formulas in innovative ways.
The deliberate choice of scat syllables also is a key element in vocal jazz improvisation. Syllable choice influences the pitch , coloration, and
of the performance. Syllable choice also differentiated jazz singers' personal styles:
was inclined to use sounds like "louie-ooie-la-la-la" (soft-tongued sounds or liquids) while Sarah Vaughan would prefer "shoo-doo-shoo-bee-ooo-bee" (, , and ). The choice of scat syllables can also be used to reflect the sounds of different instruments. The comparison of the scatting styles of Ella Fitzgerald and
reveals that Fitzgerald's improvisation mimics the sounds of
with which she performed, while Vaughan's mimics that of her accompanying -era small combos.
is another important element of scat singing.
exemplified the use of humorous scatting. Other classic examples of humorous scatting include , , and 's 1945 "Avocado Seed Soup Symphony", in which the singers scat variations on the word "avocado" for much of the recording. In addition to such nonsensical uses of language, humor is communicated in scat singing through the use of . Leo Watson, who performed before the canon of American popular music, frequently drew on
in his scatting. This is called using a compression. The 1958 song "" by , creator of , employs the technique of humorous scatting in its chorus of nonsense syllables (oo ee oo ah ah).
Ella Fitzgerald, who performed later, was able to draw extensively on popular music in her singing. For example, in her 1960 recording of "" live in Berlin, she quotes over a dozen songs, including "", "", "", and "".
's scatting during his 1911 recording of "That Haunting Melody" has been cited as one of the earliest examples of scat singing. — 322 KB
Problems playing this file? See .
's 1926 recording of "Heebie Jeebies" was the most influential early example of scat singing. — 168 KB
Problems playing this file? See .
scat on their 1927 recording of " / I Left My Sugar Standing in the Rain".
somewhat mimics the sound of a . — 139 KB
Problems playing this file? See .
Though 's 1926 recording of "" is often cited as the first song to employ scatting, there are many earlier examples. One early master of ragtime scat singing was
who recorded scat choruses in his song "King of the Bungaloos" and several others between 1911 and 1917. Entertainer
scatted through a few bars in the middle of his 1911 recording of "That Haunting Melody". Gene Green's 1917 "From Here to Shanghai", which featured faux-Chinese scatting, and 's 1924 "Scissor Grinder Joe" and "Some of These Days" also pre-date Armstrong. Cliff "Ukulele Ike" Edwards scatted an interlude on his 1923 "Old Fashioned Love" in lieu of using an instrumental soloist. , one of 's "", along with , scatted on several songs, including "", which Barris wrote in 1927. One of the early female singers to use scat was , who included it at the end of a duet with
in their hit 1924 recording of "" (Victor 19373).
credited Joe Sims of , as the creator of scat around the turn of the 20th century. Here is a transcription of a conversation between
and Jelly Roll Morton where Morton explains the history of scat:
Lomax: Well, what about some more scat songs, that you used to sing way back then?
Morton: Oh, I'll sing you some scat songs. That was way before Louis Armstrong's time. By the way, scat is something that a lot of people don't understand, and they begin to believe that the first scat numbers was ever done, was done by one of my hometown boys, Louie Armstrong. But I must take the credit away, since I know better. The first man that ever did a scat number in history of this country was a man from Vicksburg, Mississippi, by the name of Joe Sims, an old comedian. And from that,
and myself, and several more grabbed it in . And found it was pretty good for an introduction of a song.
Lomax: What does scat mean?
Morton: Scat doesn't mean anything but just something to give a song a flavor. For an instance we'll say: [launches into an example scat song, accompanying himself on the piano]
Morton also once boasted, "Tony Jackson and myself were using scat for novelty back in 1906 and 1907 when Louis Armstrong was still in the orphan's home".
also featured scat vocals in their recording of "My Papa Doesn't Two-Time No Time" five months prior to Armstrong's 1926 recording of "Heebie Jeebies".
It was Armstrong's 1926 performance, however, that was the turning point for the medium. According to Armstrong, when he was recording "Heebie Jeebies", soon to be a national bestseller, with his band The Hot Five, his music fell to the ground. Not knowing the lyrics to the song, he invented a gibberish melody to fill time, expecting the cut to be thrown out in the end, but that take of the song was the one released. The story is widely believed to be apocryphal, but the influence of the recording was nonetheless enormous.[]
Armstrong served as a model for , whose 1930s scat solos inspired 's use of the medium in his ; from the 1926 recording of "Heebie Jeebies" arose the techniques that would form the foundation of modern scat.
On October 26, 1927, 's Orchestra recorded "" featuring
singing wordlessly. "She sounds like a particularly sensitive ", according to .[] The creativity must be shared between Ellington and Hall as he knew the style of performance he wanted, but she was the one who was able to produce the sound. In 1932, Ellington repeated the experiment in one of his versions of "", with Baby Cox singing scat after a muted similar trombone solo by .
Bands such as
regularly employed scatting on their records, including the high complexity of scatting at the same time, in harmony. An example is their version of "". Another famous scat singer is , who would go on to movie and television fame.
trumpeter and vocalist
was a notable scat singer. Some authorities[] considered scat singing as lacking respectability, including BBC Radio, which did not permit scatting on air in the late 1930s.[]
Over the years, as jazz music developed and grew in complexity, scat singing did as well. During the bop era, more highly developed vocal improvisation surged in popularity. , a bop singer, expressed a common sentiment among vocalists at the time: "The [scat] music was so exciting, everyone wanted to do it." And many did: Ella Fitzgerald, , , , , , , , , and
were all singers in the idiom. Fitzgerald once hailed herself as the "best vocal improviser jazz has ever had", and critics since then have been in almost universal agreement with her.
In the 1960s, traditional scatting gave way to the free-jazz movement, which allowed scat singers to include sounds in their repertoire that had before been considered non-musical, such as screams, cries, and laughter.
(Dion) was the most prominent rock artist to consisten[] an example is "" Laurie, 1962.
Free jazz and the influence of world musicians on the medium pushed jazz singing nearer to avant-garde art music. In the 1960s
was the product of an unusually liberal musical education. He took the scat singing idea and applied it to the works of Bach, creating . Scat singing is also featured by
and others in the song "" in Disney's
The bop revival of the 1970s renewed interest in bop scat singing, and young scat singers viewed themselves as a continuation of the classic bop tradition. The medium continues to evolve, and vocal improvisation now often develops independently of changes in instrumental jazz.
Jazz artist John Paul Larkin (better known as ) renewed interest in the genre briefly during the mid-1990s when he began fusing jazz singing with
and , scoring a world-wide hit with the song "" in 1994. Vocal improviser 's performances have shown that "wordless singing has traveled far from the concepts demonstrated by Louis Armstrong, Gladys Bentley, Cab Calloway, Anita O'Day, and Leo Watson."
included it as part of several hit songs, including "Dang Me", "You Can't Roller Skate in a Buffalo Herd" and "Kansas City Star". The 2002
hit song "" by
features scat singing in its chorus that is reminiscent of .
added scatting in some of his songs recorded in the 1950s and again in the '70s. The Youtube clip "Elvis Presley, "", Take 9, Youtube Jul 31, 2010" offers an example of Elvis' growl-scat technique in this studio rendition of the rock-style love-song "We Can Patch It Up, Baby". This particular clip of "No. 9" has more of Elvis' effective use of scatting throughout it than other takes of this song.
Vocal bass is a form of scat singing that is intended to vocally simulate instrumental
that are typically performed by bass players. A technique most commonly used by bass singers in a cappella groups is to simulate an instrumental rhythm section, often alongside a
or . Some notable vocal bass artists are , , , , and .
artists and
use scat singing to come up with the rhythms of their raps.
of the group
states the following in the book : "Sometimes my rhythms come from scatting. I usually make a scat kind of skeleton and then fill in the words. I make a skeleton of the flow first, and then I put words into it." The group
describe a similar process. Rapper
has been recorded demonstrating exactly how this method works, in an audio segment covered by . Gangsta rapper
uses it extensively in his song "".
has suggested that scat singing arose from instrumental soloists like
(pictured) formulating jazz riffs vocally.
Some writers have proposed that scat has its roots in . In much African music, "human voice and instruments assume a kind of musical parity" and are "at times so close in timbre and so inextricably interwoven within the music's fabric as to be nearly indistinguishable".
likewise attributes scat singing to traditions of
in African-American music. In West African music, it is typical to convert drum rhythms common rhythmic patterns are assigned specific syllabic translations. However, this theory fails to account for the existence—even in the earliest recorded examples of scatting—of free improvisation by the vocalist. It is therefore more likely that scat singing evolved independently in the United States.
Others have proposed that scat singing arose from jazz musicians' practice of formulating riffs vocally before performing them instrumentally. (The adage "If you can't sing it, you can't play it" was common in the early New Orleans jazz scene.) In this manner, soloists like Louis Armstrong became able to double as vocalists, switching effortlessly between instrumental solos and scatting.
Scat singing can allow jazz singers to have the same improvisational opportunities as jazz instrumentalists: scatting can be rhythmically and harmonically improvisational without concern about destroying the lyric. Especially when bebop was developing, singers found scat to be the best way to adequately engage in the performance of jazz.
Scatting may be desirable because it does not "taint the music with the impurity of denotation". Instead of conveying linguistic content and pointing to something outside itself, scat music—like instrumental music—is self-referential and "d[oes] what it mean[s]". Through this wordlessness, commentators have written, scat singing can describe matters beyond words. Music critic
has written that Louis Armstrong's scatting, for example, "has tapped into his own core of emotion", releasing emotions "so deep, so real" that
his words "bypass our ears and our brains and go directly for our hearts and souls".
Scat singing has never been universally accepted, even by jazz enthusiasts. Writer and critic Leonard Feather of he once said that "scat singing—with only a couple exceptions—should be banned". He also wrote the lyrics to the jazz song "", which Ella Fitzgerald then recorded on her 1966 Verve release of the same name. Many jazz singers, including Bessie Smith, Billie Holiday, Jimmy Rushing, and Dinah Washington, have avoided scat entirely.
In her 1949 performance of "Flyin' Home", Fitzgerald alternates the bilabial "b" and "p" plosives with the alveolar plosive "d". The "b" and "p" sounds are formed similarly to the sounds of jazz wind instruments, which sound by the release of built-up mouth air pressure onto the reed, while the "d" sound is similar to the tonguing on jazz brass instruments. William Stewart, a Seattle researcher, has proposed that this alternation simulates the exchange of riffs between the wind and brass sections that is common in big bands. Sarah Vaughan, on the other hand, tends to use the fricative consonant "sh" along with the low, back of the mouth "ah" vowel. The "sh" closely resembles the sound of brushes, common in the bop era, the "ah" vowel resonates similarly to the bass drum.
This "" section may contain an excessive number of suggestions. Please ensure that only the most relevant links are given, that they are not , and that any links are not already in this article. (October 2016) ()
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Recorded Takes of "Patch It Up"
Edwards, Paul, 2009, : The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 114.
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