Bill Moring

No longer do vocalists need to share valuable time with those wanting to focus primarily on instrumental jazz and vice versa. This ensemble will be dedicated to providing a performance-oriented environment for the aspiring jazz vocalist. We will mostly concentrate on picking material from the standard jazz repertoire. Vocalists will get an opportunity to work on arrangements, interpretation, delivery, phrasing, and intonation in a realistic situation with a live rhythm section and soloists. They will learn how to work with, give direction to, and get what they need from the rhythm section. The ensemble will provide an environment to learn to hear forms and changes and also to work on vocal improvisation, if students so choose. This course will not only give students an opportunity to work on singing solo or lead vocals but also to work with other vocalists in singing backup or harmony vocals for and with each other. It will also serve as a great opportunity for instrumentalists to learn the true art of accompanying the jazz vocalist, which will prove to be a valuable experience in preparing for a career as a professional musician.

No longer do vocalists need to share valuable time with those wanting to focus primarily on instrumental jazz and vice versa. This ensemble will be dedicated to providing a performance-oriented environment for the aspiring jazz vocalist. We will mostly concentrate on picking material from the standard jazz repertoire. Vocalists will get an opportunity to work on arrangements, interpretation, delivery, phrasing, and intonation in a realistic situation with a live rhythm section and soloists. Vocalists will learn how to work with, give direction to, and get what they need from the rhythm section. The course will provide an environment for vocalists to learn to hear forms and changes and also to work on vocal improvisation, if they so choose. This will not only give students an opportunity to work on singing solo or lead vocals but also to work with other vocalists in singing backup or harmony vocals for and with each other. And it will serve as a great opportunity for instrumentalists to learn the true art of accompanying the jazz vocalist, which will prove to be a valuable experience in preparing for a career as a professional musician.

These performance ensembles are geared toward learning and performing various traditional, as well as hybrid, styles of blues and rock music. The blues, like jazz, is a purely American art form, and all styles of rock ‘n’ roll originate out of the blues. The ensembles are open to investigating Delta blues, performing songs by artists such as Robert Johnson, Son House, Charlie Patton, Skip James, and others; Texas blues; and Chicago electric blues that might open the doors to Muddy Waters, Howlin' Wolf, and Buddy Guy. The course is open for students to discover the likes of Albert King, B. B. King, and Freddie King, alongside modern blues artists such as Johnny Winter, Stevie Ray Vaughan, Joe Bonamassa, and pioneer rockers Jeff Beck, Eric Clapton, Jimmy Page, Peter Green, Jimi Hendrix, and Janis Joplin. It is always suggested that students discover and pick songs that have a close or discernible relationship to the blues; however, the ensemble is open to include most styles and genres of rock ‘n’ roll.