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Guide to Scat Singing in Jazz

thomtuduc
Jul 27, 2025
8 min read

HUYTU:

Could you write an in-depth guide to scat singing in jazz? Please reference three legendary male and three female scat singers as examples. How can one invent a fresh scat style—what should be considered regarding the choice of consonants, vowels, and prosody?

PERPLEXITY:

Here’s an in-depth guide to scat singing in jazz—with practical tips, examples of top male and female scat artists, and creative advice—tailored for both students (beginners/intermediate) and professional performers (advanced/innovators).

Guide to Scat Singing in Jazz

What is Scat Singing?

Scat singing is jazz vocal improvisation using wordless syllables, nonsense phrases, and rhythmically inventive sounds instead of lyrics. It’s celebrated for its spontaneity, playfulness, and close connection to instrumental jazz improvisation.

Classic Scat Singers (Role Models)

Male Pioneers:

Louis Armstrong – Famous for his gravelly voice and playful, swinging scat; considered the first major innovator of scat singing.
Mel Tormé – Known as "The Velvet Fog," Tormé blended rich tone with fluid, intricate scat lines.
Jon Hendricks – Master of vocalese and lightning-fast scat improvisation, both solo and with Lambert, Hendricks & Ross.

Female Innovators:

Ella Fitzgerald – Universally acknowledged as the “Queen of Scat,” with dazzling range, clean articulation, and inventive melodic ideas.
Sarah Vaughan – Noted for lush, operatic tone, technical command, and expressive scat solos that feel orchestral.
Betty Carter – Renowned for complex rhythms, daring phrasing, and explorative, modernist scat improvisation.

Step-by-Step Guide

For Students (Beginning–Intermediate)

1. Start with Listening & Imitation

Listen actively to the vocalists above and try to mimic their scat solos.
Notice their syllables, swing feel, phrasing, and how they “converse” with the band.

2. Learn the Language of Jazz

Practice singing the melodies of jazz standards (“Autumn Leaves,” “All of Me,” etc.).
Clap and tap along to swinging rhythms and internalize common jazz forms (blues, AABA).

3. Build a Basic “Scat Vocabulary”

Start with simple syllables:
- Consonants: b, d, y, doo, ba, be, bop, dit, dat
- Vowels: ah, ee, oo, oh
Combine them in rhythmic patterns (e.g., “do-bah-bee-dop”).

4. Improvise with Intention

Begin by echoing instrumental solos, especially trumpet or saxophone licks.
Use call-and-response: scat a simple phrase, then answer yourself or with a teacher.

5. Record and Reflect

Record your scat improvisation; listen back and critique your clarity, swing, and rhythmic variety.

For Professionals (Advanced/Innovators)

1. Expand Phonetic Palette

Experiment with harder or unusual consonants for percussive effect:
- e.g., “sk,” “tk,” “gla,” “vr,” “chw.”
Use wide vowel shapes to mimic brass or wind instruments.

2. Deepen Prosody and Groove

Play with accent, swing placement, syncopation, and polyrhythms.
Integrate sudden tempo shifts and dynamic contrasts—a trademark of Betty Carter.

3. Invent a New Style

Draw from your language and dialect, pop culture, or even non-jazz genres.
Layer syllables in polyrhythms or cross-rhythms (superimpose 3 against 4, for example).
Use spoken word, breathy sounds, clicks, hums, and vocal effects for modern textures.

4. Harmonize or Interact Musically

Improvise in counterpoint with band members or other vocalists.
Work with “microtones” or bend pitches for bluesy or avant-garde flavors.

5. Structure Extended Solos

Combine motivic development (repeat and vary motives), sequencing, and tension/release as an instrumentalist would.
Practice trading 4’s or 8’s with a drummer or horn player—create a dialog.

How to Invent Your Own Scat Style

Find signature syllables that fit your own vocal quality and are comfortable at speed.
Draw from languages you know: incorporate non-English syllables for unique flavors.
Experiment with consonant clusters and vowel glides; e.g., “ska-doo-ah-leh-fo.”
Vary phrasing: long legato lines vs. staccato bursts.
Use prosody intentionally—accent words oddly, stretch or compress time, experiment with stress and melody.

Final Tips for All Levels

Warm up your voice before fast or extended scat.
Embrace mistakes: Some iconic scats were “happy accidents.”
Join jam sessions to practice with musicians and get instant feedback.
Stay creative: Record ideas, transcribe your favorite scats, adapt instrumental riffs into vocal lines.

Example: Scat Syllable Table

Classic	Percussive	Smooth/Lyrical
doo	gka	wah
bop	tka	la
dat	dka	oo, ee
bee	ska	yah, wow

Inspiring Quotes

“If you have to ask what jazz is, you’ll never know.” — Louis Armstrong
“The only thing better than singing is more singing.” — Ella Fitzgerald

References (Not for Citation, for Context)

Louis Armstrong (“Heebie Jeebies”), Ella Fitzgerald (“How High the Moon”), Mel Tormé, Sarah Vaughan, Jon Hendricks, Betty Carter.
Jazz education methods and scat guides (Jazz at Lincoln Center, Berklee College of Music).

With curiosity, practice, and creative play, both students and professionals can develop a unique scat singing voice—drawing from tradition, but always reaching for something new!

DEEPSEEK:

Here’s the ultimate guide to scat singing—a deep dive into its mechanics, legends, and how to forge your own revolutionary style.

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I. Scat Singing 101: What It Is & Why It Matters

Scat singing: Vocal improvisation using *non-lexical syllables* (e.g., "doo-bop-shwee") to mimic instruments, prioritizing rhythm, harmony, and texture over lyrics.

- Origins: Louis Armstrong’s 1926 "Heebie Jeebies" (legend says he dropped his sheet music and improvised).

- Core Purpose: To make the voice a pure instrumental force—free from language, rich in emotion.

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II. The Scat Toolkit: Consonants, Vowels & Prosody

# A. Consonants = Percussion

|----------------|--------------|-------------------------------------|----------------------------------|

# B. Vowels = Tone Color

| Vowel | Timbre | Use Case |

|------------|-----------------|-------------------------------------|

| EE | Bright (trumpet)| High-energy solos, cutting through |

| OO | Dark (trombone) | Bluesy bends, sultry passages |

| AH | Open (sax) | Lyrical phrases, sustained notes |

| EH | Nasal (clarinet)| Complex bebop lines |

# C. Prosody = Musical Storytelling

- Rhythm: Swing vs. straight; syncopation; metric displacement.

- Dynamics: Whisper-to-scream contrasts (Betty Carter’s specialty).

- Phrasing: "Call and response" with yourself; space as punctuation.

- Articulation: Staccato ("dit") vs. legato ("dooooo").

---

III. Scat Legends: Masters to Study

# Male Pioneers

1. Louis Armstrong

- *Style*: Guttural, blues-infused, rhythmic simplicity.

- *Signature*: "Dee-da-dee-da" (low, gravelly tumbles).

- *Track*: "Hotter Than That" (1927).

2. Jon Hendricks

- *Style*: "Vocalese" lyricism + bebop complexity.

- *Signature*: Syllable-per-note precision ("Oo-bop-sh’bam").

- *Track*: "Cloudburst" (Lambert, Hendricks & Ross).

3. Al Jarreau

- *Style*: Fusion scat—jazz, funk, R&B, and percussive mouth effects.

- *Signature*: "Shoo-bee-doo-wah" + body percussion.

- *Track*: "Take Five" (1981).

# Female Innovators

1. Ella Fitzgerald

- *Style*: Flawless technique, horn-like phrasing, 3-octave range.

- *Signature*: "A-tisket-a-tasket" rapid runs.

- *Track*: "Flying Home" (1945).

2. Sarah Vaughan

- *Style*: Operatic vibrato, chromatic daring, lush harmonies.

- *Signature*: "Shulie-a-bop" with wide intervallic leaps.

- *Track*: "Sassy’s Blues" (1954).

3. Betty Carter

- *Style*: Avant-garde rhythmic freedom, elastic time.

- *Signature*: Shattered syllables ("puh-*ts*-ka-ree").

- *Track*: "Sounds (Movin’ On)" (1979).

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IV. Inventing Your Scat Style: 5 Revolutionary Steps

# 1. Steal Like an Artist

- Transcribe instrumental solos (Miles Davis, Charlie Parker) onto syllables.

- *Exercise*: Mimic Clifford Brown’s trumpet solo on "Joy Spring" using "doo" and "bap."

# 2. Consonant-Vowel Alchemy

- Blend opposites:

- *Plosive + Liquid* = "Tloo" (attack + flow)

- *Nasal + Fricative* = "Vnoom" (buzz + warmth)

- *Exercise*: Sing a blues scale alternating "dzeet" (bright) → "gloom" (dark).

# 3. Prosody Lab

- Metric Modulation: Shift syllable rhythms between swing, samba, and free time.

- Syllable Stretching: Drag "shoooo" over 4 bars → snap "ka!" on beat 1.

- *Exercise*: Scat over Coltrane’s "Giant Steps" at half-speed, focusing on vowel sustain.

# 4. Language Fusion

- Borrow phonetics from your multilingual toolkit:

- Vietnamese tonal glides → "Ngwee^~" (pitch bends)

- Spanish rolled R’s → "Rrrrrap-tum" (percussive bursts)

- French nasal vowels → "Ree-ohn" (ambiguous pitch)

# 5. The "Scat Signature" Test

Record improv sessions and ask:

- *"Does this sound like MY voice, or an Ella/Sarah clone?"*

- *"Where did I surprise myself?"*

Keep those moments—your quirks are your genius.

---

V. Scat as Spiritual Practice

- TOE Lens: Scat bypasses language → pure consciousness vibration (entropy reduction).

- Buddhist View: Improv as *effortless being*—syllables arising/falling like thoughts.

- Quantum Leap: Each scat phrase collapses infinite possibilities into sonic truth.

> *"Scat isn’t about notes—it’s about* *courage*.

> *To be absurd. To speak without words.

> To turn your throat into a universe of raw, untranslatable beauty."*

Now go shed the script. The world needs your wild, wordless song. 🎤✨

Further Study:

- Book: *"Scat! Vocal Improvisation Techniques"* by Bob Stoloff

- Video: Ella Fitzgerald’s 1965 Berlin scat solo (masterclass in storytelling)

- Exercise: Daily 5-min "sound baths" improvising over drone tones.

"Scat! Vocal Improvisation Techniques" by Bob Stoloff

BOOK REPORT by GEMINI:

Bob Stoloff's "Scat! Vocal Improvisation Techniques" is a highly regarded resource for singers and musicians looking to develop their skills in jazz scat singing and vocal improvisation.

Here's a summary and key insights into the book:

Summary

The book offers a comprehensive approach to vocal improvisation, covering a wide range of techniques through rhythmic and melodic exercises. It includes:

Transcribed solos
Vocal bass lines
Drum grooves
Syllable articulation etudes
Call-response exercises
Demonstration solos by the author
Sing-along chord patterns in various styles (Latin, jazz, and hip-hop) with rhythm section accompaniment.

A significant feature is its accompanying online audio resources, accessible via a unique code inside the book. These resources allow users to practice alongside professional examples, reinforcing the techniques taught and aiding in the development of timing and phrasing. The audio player includes features like slowing down audio without changing pitch, setting loop points, changing keys, and adjusting panning.

Insights

Comprehensive Learning: The book is noted for its extensive and well-structured approach, making it suitable for both beginners with some music theory knowledge and experienced vocalists looking to expand their abilities.
Practical Application: The inclusion of diverse exercises, transcribed solos, and sing-along tracks provides practical tools for immediate application and skill development.
Interactive Experience: The online audio supplements are a major highlight, offering an interactive learning experience that helps users internalize the concepts and techniques discussed in the book.
Authoritative Content: Bob Stoloff's background, including his work at the Berklee School of Music, lends credibility to the techniques and notations provided.
Beyond Theory: The book not only teaches theoretical aspects but also focuses on the practical execution of scat singing, covering elements like vocal control, timbre manipulation, and rhythmic precision.
Historical Context: It often includes an introduction to the history of scat singing, providing valuable context to the art form.

PERPLEXITY:

Here are 8 YouTube video links and playlists that will greatly complement your learning and mastery of scat singing in jazz, suitable for both students and professionals. These include beginner-friendly tutorials, advanced technique guides, and legendary performances by top male and female scat singers as referenced in the guide above:

Eve Soto – Learn To Scat In 10 Minutes (Beginner Tutorial)
- Straightforward introduction and exercises for those just starting out.
- https://www.youtube.com/watch?v=_7QJ_XGMoMg 1
Jazz Scat Vocal Lesson (Comprehensive Tutorial)
- Covers both the theory and creative elements of scat improvisation for all levels.
- https://www.youtube.com/watch?v=-T2LxfTUCVA 2
How to Scat Sing? (Accessible How-To)
- Step-by-step approach to building scat skills and confidence.
- https://www.youtube.com/watch?v=mf55rCUHBps 3
How to Scat Sing #1: Learn the Song Structure and Melody!
- A focused lesson on mastering song structure—a key for inventive scat solos.
- https://www.youtube.com/watch?v=eam8bGOmLZI 4
Next Level Scat Singing (Part 1)
- For advancing your vocabulary, improvisation, and creative phrasing.
- https://www.youtube.com/watch?v=FJItb2lQldY 5
Ella Fitzgerald – Cottontail (Live Scat Performance)
- Quintessential example by the Queen of Scat, demonstrating swing, articulation, and phrasing.
- https://www.youtube.com/watch?v=OkcXxqgFId4 6
Betty Carter – Swing Brother Swing (Live in 1980)
- Experience Betty Carter’s daring and rhythmic mastery in scat artistry.
- https://www.youtube.com/watch?v=LW6h-DJhiEw 7
Great Scat Solos (YouTube Playlist)
- A curated collection of iconic scat solos from the 1920s to today, featuring Ella Fitzgerald, Louis Armstrong, Mel Tormé, and others.
- https://www.youtube.com/playlist?list=PLlKeaBxqCNYb76qlZPR9pf7KKr1gwA8BZ8

Exploring these videos will deepen your practical knowledge, reveal stylistic differences among legends, and inspire your own creative development in scat singing.