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478 days agoFrom Wikipedia, the free encyclopedia
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. Ella Fitzgerald, who performed later, was able to draw extensively on popular music in her singing. For example, in her classic 1960 recording of "" live in Berlin, she quotes over a dozen songs, including "", "", "", and "".
The scat-style lyrics of the song "," written by
with music by
and released on the latter's album
in 1974, include the names of many varieties of fish. However, since the lyrics were written and not improvised during a performance, they are not a true example of scat improvisation.
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's scatting during his 1911 recording of "That Haunting Melody" has been cited as one of the earliest examples of scat singing. — 322 KB
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's recording of "Heebie Jeebies" was the most influential early example of scat singing. — 168 KB
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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
even 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 the song "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.
Louis Armstrong served as a model for , whose 1930s scat solos inspired 's use o it was 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 "The Mooche", with
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 excellent example would be 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 just about everyone did: Ella Fitzgerald, , , , , , , , , and
all were important 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 prominet Rock artist to consistently use Scat singing. A good example is "" Laurie, 1962. The kazoo (very unusual in rock music) that plaintively "sings throughout the song even has a scat quality. Dion used scat singing either by him or his backing group throughout his career. Even his famous
(Laurie, 1961) begins with his vocal group (the , not the ) singing scat lyrics.
Free jazz and the influence of world musicians on the medium pushed jazz singing nearer to avant-garde art music. In the 60s
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. This has continued to a degree in recent years, due to the continued popularity of Scatman John, and segments in the British television comedy series
which featured scat singing (referred to by its performers as "").
Vocal improviser 's recent 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."
Experimental rock singer
uses a variation of scat singing in many projects, including the avant-garde metal band
has made scatting a part of many of the band's recordings and live shows, sometimes performing extended scat solos which work to complement extend guitar solos, act as solos themselves, even to replace forgotten lyrics. Some
bands such as
use the style in some of their songs, for instance "" and "".
has used scat singing in live performances, most notably on
as special guest on their Central Park concert.
uses a lot of scat in his live performances.
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 to simulate an instrumental rhythm section often alongside a . some famous vocal bass artists include (but are not limited to), , , ,Benni Chawes, , 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
covered by . Godfather of gangsta rap
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".
Various psychological and metaphysical theorists have instead proposed that vocal improvisation allows for revelations from the 's depths. Musician and lecturer
has proposed a theory of improvisation based on "different states of consciousness" that draws on the
model of the . The music stemming from Laneri's improvisatory "consciousness expansion" tends to be vocal, as the voice is regarded as the "primal instrument".
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". Perhaps ironically, he also wrote the lyrics to the jazz song "", which Ella Fitzgerald then recorded on her 1966 Verve release of the same name. Many fine jazz singers, including Bessie Smith, Billie Holiday, Jimmy Rushing, and Dinah Washington, have avoided scat entirely. Of course, many fine jazz vocalists do not play instruments at all, either.
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.
(jazz vocal improvisation using lyrics instead of nonsense syllables)
, p. 282
, p. 145
, p. 125
, pp. 125–126
, p. 74.
, p. 129
, p. 627
, p. 140
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, p. 16
, p. 89
, p. 32
* Williams, Iain Cameron. "Underneath A Harlem Moon ... the Harlem to Paris Years of Adelaide Hall". Continuum, 2003.
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Edwards, Paul, 2009, : The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 114.
. The Washington Post.
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(1994). Thinking in Jazz: The Infinite Art of Improvisation. Chicago: .  ..
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Edwards, Brent Hayes (2011). "Louis Armstrong and the Syntax of Scat".
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(1990). Jazz Singing: America's Great Voices from Bessie Smith to Bebop and Beyond. New York: .  ..
(2000). Rhythm-A-Ning: Jazz Tradition and Innovation. Cambridge, Massachusetts: .  ..
Grant, Barry Keith (1995). "Purple Passages or Fiestas in Blue? Notes Toward an Aesthetic of Vocalese". In Gabbard, Krin. Representing Jazz. Durham, North Carolina: .  ..
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Pressing, Jeff (1988). "Improvisation: Methods and Models". In . Generative Processes in Music. Oxford: .  ..
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Video Examples:
: Hidden categories:Scat - definition of scat by The Free Dictionary /scat
scat Also found in: , , , , .
(skăt)intr.v.
scat·ted, scat·ting, scats
T leave at once.[Origin unknown.]scat 2
(skăt)n. Jazz singing in which improvised, meaningless syllables are sung to a melody.intr.v.
scat·ted, scat·ting, scats
To sing scat.[Origin unknown.]scat 3
(skăt)n. Excrement, esp dung.[Origin unknown.]scat (skæt) vb, scats, scatting or scatted1.
( usually imperative) to go away in haste[C19: perhaps from a hiss + the word cat, used to frighten away cats]scat (skæt) n1.
(Jazz) a type of jazz singing characterized by improvised vocal sounds instead of wordsvb, scats, scatting or scatted2.
(Jazz) (intr) to sing jazz in this way[C20: perhaps imitative]scat (skæt) n1.
(Animals) any marine and freshwater percoid fish of the Asian family Scatophagidae, esp Scatophagus argus, which has a beautiful coloration[C20: shortened from S see scato-]scat (skæt) n1.
(Zoology) an animal dropping[C20: see scato-]scat1
scat•ted, scat•ting.
to move or go off hastily.
[;70, Amer.; of uncertain orig.] scat2
scat•ted, scat•ting,
to sing scat.
jazz singing using improvised nonsense syllables to imitate the phrasing or effect of a band instrument.
[;30; of uncertain orig.] scat3
the excrement of an animal.
[;30; orig. uncertain] scat4
[;50; of uncertain orig.] scat - Slang for whiskey.See also related terms for .scatPast participle: scattedGerund: scattingImperativePresentPreteritePresent ContinuousPresent PerfectPast ContinuousPast PerfectFutureFuture PerfectFuture ContinuousPresent Perfect ContinuousFuture Perfect ContinuousPast Perfect ContinuousConditionalPast ConditionalImperativescatscatPresentI scatyou scathe/she/it scatswe scatyou scatthey scatPreteriteI scattedyou scattedhe/she/it scattedwe scattedyou scattedthey scattedPresent ContinuousI am scattingyou are scattinghe/she/it is scattingwe are scattingyou are scattingthey are scattingPresent PerfectI have scattedyou have scattedhe/she/it has scattedwe have scattedyou have scattedthey have scattedPast ContinuousI was scattingyou were scattinghe/she/it was scattingwe were scattingyou were scattingthey were scattingPast PerfectI had scattedyou had scattedhe/she/it had scattedwe had scattedyou had scattedthey had scattedFutureI will scatyou will scathe/she/it will scatwe will scatyou will scatthey will scatFuture PerfectI will have scattedyou will have scattedhe/she/it will have scattedwe will have scattedyou will have scattedthey will have scattedFuture ContinuousI will be scattingyou will be scattinghe/she/it will be scattingwe will be scattingyou will be scattingthey will be scattingPresent Perfect ContinuousI have been scattingyou have been scattinghe/she/it has been scattingwe have been scattingyou have been scattingthey have been scattingFuture Perfect ContinuousI will have been scattingyou will have been scattinghe/she/it will have been scattingwe will have been scattingyou will have been scattingthey will have been scattingPast Perfect ContinuousI had been scattingyou had been scattinghe/she/it had been scattingwe had been scattingyou had been scattingthey had been scattingConditionalI would scatyou would scathe/she/it would scatwe would scatyou would scatthey would scatPast ConditionalI would have scattedyou would have scattedhe/she/it would have scattedwe would have scattedyou would have scattedthey would have scatted
Noun1.scat - the singer substitutes nonsense syllables for the words of the song and tries to sound like a musical instrument,
- the act of singing vocal music - a genre of popular music that originated in New Orleans around 1900 and developed through increasingly complex stylesVerb1.scat - take to one' "If you see this man, run!"; "The burglars escaped before the police showed up", , , , , , , , , , , , ,
"At what time does your train leave?"; "She didn't leave until midnight"; "The ship leaves at midnight", ,
- "He threw down his gun and fled" - run away, as if in a panic
scat1 [skæt] EXCL → , ?fuera de !scat1 interj (inf) → verschwinde!, verschwindet!scat2 (Jazz) n → Scat m, rhythmisches Singen von Silben anstelle von Worten vi → Scat
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