Asia-Pacific Journal of Advanced Research in Music, Arts, Culture and Literature
Vol. 1, No. 1 (2016), pp. 29-34
http://dx.doi.org/10.21742/ajmacl.2016.1.1.05
A Study on the Characteristics of Louis Armstrong’s Scat
- Centering on albums released from 1943 to 1970 HyunJung Lee1, Seungyon-Seny Lee2
The Graduate School at Sangmyung University
2
The Graduate School of Culture and Technology at Sangmyung University, R423
1
[email protected], [email protected]
1
Abstract
Louis Armstrong’s Scat has two aspects. This study aims to make a comparative analysis
of correlation between Scat and Adlib and between Scat and Trumpet. The albums released
from 1943 to 1970 are classified centering on the songs with Scat and Lyric and the ones with
Lyric only without Scat. There are commonalities and differences in genre, tempo, and song
form depending on the presence of Scat and Adlib. By performing such study procedures,
commonalities and differences are drawn from correlation between Scat and Adlib and
between Scat and Trumpet.
Keywords: Louis Armstrong, Scat, Adlib, Jazz vocal, Trumpeter
1. Introduction
Most of the male jazz vocalists were originally musical performers [1], and the
representative vocalist Louis Armstrong was a trumpeter and a creator of Scat and can be said
as one of the greatest soloists in the history of jazz. Musical improvisation made solo more
salient in group performance [2], and Scat singing is a vocal technique that is used to sing
melody with oral sounds without lyric and popularized the improvisation with voices in the
same manner as jazz instrumental players did [3][4].
Armstrong‟s Scat is compared objectively from two aspects: correlation between Scat and
Adlib and interplay between Scat and Trumpet instrumental performance in the albums
released from 1943 to 1970.
As for album classification (Filter Discography By Albums), 20 albums that are in live
version or that has no format or exists in LP are excluded from 41 albums released at All
music site during the period when Armstrong worked actively. Among these 21 albums, 9
songs appear twice or more in the albums of other years. So this study concentrates
intensively on how the same songs are expressed in the albums released at a distance of time.
Among the 9 songs that were overlapped, 2 songs are excluded as instrumental and finally a
total of 7 songs are studied as they are ubiquitous 14 times in 9 albums, in each of which it
appears twice or more.
This study identifies Armstrong‟s Scat from two directions. First, this study adopts analysis
method of Scat and Adlib from two different perspectives and draws results from the songs
with Lyric depending on the presence of Scat. From the first perspective, it analyzes how Scat
copies and uses the instrumental characteristics of trumpet in songs with Scat and compares
the characteristics and roles of Scat and Adlib shown in genre and tempo. From the second
perspective, it analyzes the utilization of Adlib written in 14 songs regardless of presence of
Scat. Second, the same songs are played in the other albums and the used Scat is compared to
find out how it develops with which common characteristics and differences. Finally, the
AJMACL
Copyright ⓒ 2016 GV School Publication
Asia-Pacific Journal of Advanced Research in Music, Arts, Culture and Literature
Vol. 1, No. 1 (2016)
specific characteristics of Scat are analyzed by comparing the correlation between Scat and
Trumpet and making a comparative analysis depending on the presence of Scat and Adlib.
2. Song Classification depending on the Presence of Scat
For objective comparative analysis, Scat and Adlib are classified into the songs with both
Scat and lyric and the ones with Lyric only without Scat. Year and Album, Title, Duration,
presence of Scat, and Genre and Tempo are tabulated.
Table 1. Classification of songs with both Scat and Lyric and those with Lyric only
without Scat
No.
Year / Album
Title
Duration
Scat
Genre / Tempo
„Someday You'll Be Sorry‟
3:07
○
Swing / Medium up
1964 / Hello, Dolly!
„Someday You'll Be Sorry‟
3:41
○
Swing / Medium up
1957 / Satchmo: A
[Track Listing - Disc 3]
„Lazy River‟
3:49
○
Swing / Medium
Musical Autobiography
1960 / Bing & Satchmo
„Lazy River‟
3:14
○
Jazz Slow Swing
1959 / Satchmo in Style
„Blueberry Hill‟
2:54
○
Swing / Medium
1964 / Hello, Dolly!
„Blueberry Hill‟
3:20
○
Swing / Medium
„A Kiss to Build a Dream On‟
3:04
Swing / Moderately slow
„A Kiss to Build a Dream On‟
4:31
Jazz Slow Swing
4:56
Spiritual song / Slow
1952 / Satchmo
1
2
Serenades
3
1952 / Satchmo
4
Serenades
1964 / Hello, Dolly!
1957 / I've Got the World „Nobody Knows the Trouble
on a String
I've Seen‟
1958 / Louis and the
„Nobody Knows the Trouble
5
Ragtime(Stride styles) /
3:02
Good Book
1957 / Louis Under the
I've Seen‟
„Body and Soul‟
Medium
4:55
Ballad
4:59
Ballad
2:16
Jazz Swing Ballad
Stars
6
1957 / Satchmo: A
[Track Listing - Disc 3]
Musical Autobiography
„Body and Soul‟
1968 / What a Wonderful
„What a Wonderful World‟
World
7
1970 / What a Wonderful
World
30
„What a Wonderful World‟
Bluesy Rhythm / Tempo
Rubato, Slow
Copyright ⓒ 2016 GV School Publication
Asia-Pacific Journal of Advanced Research in Music, Arts, Culture and Literature
Vol. 1, No. 1 (2016)
2.1. Correlation between Scat and Trumpet
Interplay with trumpeter is represented through Scat analysis in each song. „Someday
You'll Be Sorry‟ plays melody with similar rhythms in the same location where trumpet is
played and appears instrumental by utilizing syllable effect. „Lazy River‟ constitutes natural
Phrase by using the melody lines that have a meaning in developing motives with the eighth note patterns and makes us feel that the player is a trumpeter by using the upward and
downward motion of melody appropriately. As it plays a bridge role between instrument and
vocal and gives a dynamic synergistic effect, it shows climax in the ending part by using
voices like trumpet instrument. „Blueberry Hill‟ ascends melody up for dynamic rising in
ending part, reaches the peak, and finishes with high-pitched tones by using a trumpet.
2.2. Correlation between Scat and Adlib
„Someday you'll be sorry,‟ classified as song with Scat is played in medium up swing.
„Lazy river‟ is played in medium swing and slow swing and „Blueberry Hill‟ is played in
medium swing. „Lazy river‟ plays Scat by giving changes to tempo with double time feel.
Genre is largely Swing and Tempo is composed of Medium up and Medium and Rhythm with
Double time feel, and the commonality is seen that song is played by using Scat and Adlib in
Tempo with Medium or higher.
Scat builds up tension by giving change to performance or with dynamic synergistic
effect and uses dramatic expression by giving instrumental feel with syllable effect. The
characteristics of Adlib are contrasted in the role of Scat and Adlib as it is composed with
Phrase for natural flow and played for natural expression of dynamics and natural
development between Phrase.
2.3. Utilization of Adlib
As a result of analysis from the perspective that depends on the presence of Adlib, it is
found that there are common forms of musical performance and musical effects depending on
genre and tempo. The characteristics of Adlib shown in „Someday you'll be sorry‟, „Nobody
Knows the Trouble I've Seen‟, and „Blueberry Hill‟ are first, Phrase are used for natural flow
in the beginning of song [5]. second, song is uplifted by using smoothly- connected tones
before melody variation in high-pitched tone part. Third, it is used for natural development
between Phrase. In the above three songs, genre and tempo are Medium up swing and
Medium swing, respectively and Tempo Medium in Stride playing style in Rag time, and its‟
played in Tempo with Medium or higher.
„Lazy river‟ shows a diverse change in rhythms and is an arranged form and Adlib is used
with narration and played under Call & Response role.
To look at the characteristics of Adlib shown in „A Kiss to Build a Dream on‟, „Nobody
Knows the Trouble I've Seen‟, „Body and Soul‟, and „What a Wonderful World,‟ it is
restrained, faithful to the original music, plays a brief melody, and concentrates on lyrics.
This maximizes lyrics expression by making an appropriate use of phrase and space or by
performing melody variation. To look at the characteristics of songs with lyrics only without
scat in the above four songs depending on genre and tempo, genre varied from Jazz slow
swing and spiritual song with Tempo Slow to Ballad and arrangement with blued rhythms,
but takes a slow tempo commonly.
Copyright ⓒ 2016 GV School Publication
31
Asia-Pacific Journal of Advanced Research in Music, Arts, Culture and Literature
Vol. 1, No. 1 (2016)
3. Classification of Songs with Scat
Jazz vocal is Scat singing and plays an improvisatory melody and rhythm and creates
equally to instrumental solo by using their voices [6]. Sometimes, distorted voices enhance
expressiveness and Scat Syllable understands the structure of rhythm pattern well, has
diversity and uniqueness, and expresses rhythmically [7][8].
The characteristics of Scat are classified into six songs with Scat and Lyric from five
albums from 1952 to 1964 to see if the same songs are overlapped in the albums of other
years. Year and Album, Title, Duration, Genre and Tempo, and Song Form are tabulated.
Table 2. Song classification that appeared two or more in other albums among the
songs with Scat and Lyric
No.
Year / Album
Title
1952 / Satchmo
„Someday You'll Be
Serenades
1
Duration
Genre / Tempo
Song Form
3:07
Swing / Medium up
3:41
Swing / Medium up Intro-Head(x3)-Head out
Intro-Head(x2)-Interlude-
Sorry‟
Head out-EndingA
□B
□A
□C
□
„Someday You'll Be
1964 / Hello, Dolly!
Sorry‟
1957 / Satchmo: A
Intro-Head(x2)-Scat-Head
[Track Listing - Disc 3]
Musical Autobiography
„Lazy River‟
1960 / Bing & Satchmo
„Lazy River‟
3:49
Swing / Medium
3:14
Jazz Slow Swing
out-Ending A
□B
□
2
Intro-Head-Scat-Head
out-Ending
Intro-Head-Head out-
1959 / Satchmo in Style
„Blueberry Hill‟
2:54
Swing / Medium
1964 / Hello, Dolly!
„Blueberry Hill‟
3:20
Swing / Medium
Ending A
□A
□B
□A
□
3
Intro-Head-Head outEnding
3.1. Comparative Analysis of Characteristics of Scat
The characteristics of Scat are classified into songs that are overlapped in the albums of
other years from the songs with both Scat and Lyric, and in case of the songs presented in
<Table2>, Scat that is played in other albums is compared.
3.1.1. Comparative Analysis of ‘Someday You’ll Be Sorry’: Album 『 Satchmo
Serenades』created in 1952 is used to give performing changes to Section moving from □
A
part to □
B part and also used for giving dynamic synergistic effect gradually before reaching
the climax. Album『Hello, Dolly!』created in 1964 sings Head twice. It refrains from using
Scat in the first Head and is used for giving performing changes to the part that Section
changes. Frequent use of Scat builds up tension and shows synergistic effect for building up
the atmosphere of song in the second Head and Head out.
3.1.2. Comparative Analysis of ‘Lazy River’: Album 『 Satchmo: A Musical
Autobiography』created in 1957 attempts changes in rhythm and Scat is played in tempo
with double time feel. It uses eighth-note patterns and uses melody line that has a meaning in
32
Copyright ⓒ 2016 GV School Publication
Asia-Pacific Journal of Advanced Research in Music, Arts, Culture and Literature
Vol. 1, No. 1 (2016)
developing motives for constituting natural Phrase. It uses the upward and downward motion
of melody appropriately. Album『Bing & Satchmo』 created in 1960 also attempts changes
in rhythm and Scat begins with tempo with Double time feel. The use of eighth note and
Triple embellishes the melody, suggesting the songs to be played next. The use of Scat in the
part moving from Head out to Ending plays a bridge role between instrument and vocal and
finishes by giving a dynamic synergistic effect.
3.1.3. Comparative Analysis of ‘Blueberry Hill’:In Album『Satchmo in Style』created
in 1959, Head out is sung by Armstrong in □
A□
A part in the form of Chorus and Call &
Response and after Scat, order is changed in □
B□
A part. In the part moving from Head out to
Ending, dramatic climax occurs, thus giving a dynamic synergistic effect and then melody
moves downward repetitively, which narrows the section of motive and gradually increases
nuber and finishes with upward melody after repetition.
In Album『Hello, Dolly!』created in 1964, Head out is used for giving performing
changes when Section moves from □
A□
A part to □
B□
A part. For dynamic rise in ending, melody
gradually moves upward and plays a trumpet role with high-pitched tone when it reaches the
climax and then finishes.
3.2. Commonalities in Scat
The songs contained in other albums have commonalities in Scat depending on song form.
Scat is used for attempting performing changes, and in the part moving from Head Out to
Ending, the use of Scat builds up tension to build up the atmosphere of song, thus showing
synergistic effect. Rhythm and melody that are similar to trumpet are used and musical
improvisation is played by using syllable effect and voices like trumpet instrument.
3.3. Differences in Scat
The characteristics of Scat depend on the flow of time and arrangement. As song form and
form of performance are differently organized in the songs contained in the albums of other
years, location where Scat is used, its number of use and phrase using rhythm and melody are
seen to have been changed in six songs.
4. Conclusion
As a result of performing study procedures from two aspects, the genre that is played in
Scat and Adlib is largely Swing and its Tempo is Medium or higher. Scat is used in the part of
attempting performing changes or in the finishing end and eighth note patterns are largely
used. It plays a bridge role between instrument and vocal and plays like a trumpet by using
voices and syllable. Adlib is played for constituting Phrase for natural flow and for natural
expression of dynamics and natural development between Phrase and used for Call &
Response role. From this study, it was suggested that if attempting to arrange by giving
changes to genre and tempo variously and expressing natural flow of song and its dynamic
expression by making good use of the location and role where Scat and Adlib can be used
depending on song form based on the basic knowledge of Scat and Adlib, player‟s own
uniqueness could be developed.
This study has limitations in that the number of songs is limited in the studying process.
Based on the analysis results from this study, further studies need to collect plenty of songs,
classify them, compare the characteristics of Scat, identify the changes depending on the
Copyright ⓒ 2016 GV School Publication
33
Asia-Pacific Journal of Advanced Research in Music, Arts, Culture and Literature
Vol. 1, No. 1 (2016)
general characteristics of Scat and the flow of time, and provide developmental directions.
Acknowledgements
This research was supported by a 2016 Research Grant from Sangmyung University.
References
[1] J. E. Berendt, J.H. Han, “Das Jazzbuch, Jaeum&Moeum”, Seoul, pp. 671-680, (2012).
[2] G.Y. Choi, “Jazz”, Sallimbooks, Seoul, pp. 14-15, (2015).
[3] M. Gridley, Translation S.B. Sin, “Jazz Styles, History and Analysis”, Samhomusic, Seoul, pp.
112-115, (2002).
[4] G. Giddins, S. DeVeaux, Translation D.H. Hwang, “JAZZ”, Kachi, Seoul, pp. 170-197, (2014).
[5] R. Smallwood, “Gospel and Blues Improvisation”, Music Educators Journal, vol. 66, no. 5, pp.
100-104, (1980).
[6] J. Bower and H. Shoemark, “Music Therapy to Promote Interpersonal Interactions in Early
Paediatric Neurorehabilitation”, Australian Journal of Music Therapy, vol. 20, pp. 59-75, (2009).
[7] C.K. Lee and S.S. Lee, “Using Number of Cases in Rhythmic Educational Contents”, The Korea
Contents Society, vol. 15, no. 8, pp. 187, (2015).
[8] P.M. Ward-Steinman, “Vocal Improvisation and Creative Thinking by Australian and American
University Jazz Singers A Factor Analytic Study”, Journal of Research in Music Education, vol. 56,
pp. 5-17, (2008).
Authors
Hyun Jung Lee
Professor, Sangmyung University
Master of Music at Sangmyung University
Ph.D.Program at Sangmyung University
Seungyon – Seny Lee
Professor, Sangmyung University
Doctor of Computer Music Composition, Stanford University
Former Professor, Kaist
34
Copyright ⓒ 2016 GV School Publication