What You Say (and What You Do): Choral Instrumental Pak
By Rosana Eckert
Item: 35-PK00472230
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Description
Vocal Jazz has never been this fancy-free in the capable hands of composer/vocalist/lecturer Rosana Eckert. "It's not the color of your hair, it's what you say and what you do" rolls off the tongue with assuredly blues vocal lines with a jazzy written-out scat section in the middle!
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00472230
More about this title
About the Composer: Rosana Eckert
Rosana Eckert brings classroom credibility to every piece she writes. As both a composer and vocalist, she understands exactly what singers need to feel confident and energized; her work in music education has deepened her ear for practical, singable writing that still delivers sophistication.
Her approach to jazz repertoire prioritizes accessibility without sacrificing authenticity. Eckert writes idiomatically for the voice, honoring the genre's improvisational spirit while providing singers the scaffolding they need to deliver a polished performance.
Why we love this
Eckert refuses the false choice between approachable and artful. The piece swings with genuine jazz vocabulary while remaining singable for ensembles still building their jazz chops, and the written-out scat section gives students a concrete model for phrasing and articulation they can absorb and eventually build from.
What to expect
Conversational and grounded, with an undercurrent of sophisticated swing. The blues inflection gives it warmth and character, while the scat section injects playful energy and confirms this is music that celebrates the voice as an improvising instrument, not just a singing one.
Who it's for
Jazz choirs and show choirs with intermediate comfort reading jazz vocabulary and syncopation. This works equally well for concert jazz settings or as a lighter moment in a mixed repertoire program where you want genuine swing and style without extreme technical demands.
How to get the most out of it
- Shape the opening melody with conversational phrasing; the lyric content should feel like genuine speech, not declamation.
- Balance the scat section so it sits naturally in the ensemble texture rather than dominating. This is a moment for rhythmic cohesion, not individual spotlight.
- Let the blues harmony breathe. Avoid rushing; the groove anchors everything, and clarity of harmonic movement will deepen the jazz idiom.
- Work the text articulation in rehearsal early. The rhythmic precision of "what you say and what you do" sets the groove for the entire piece.
How to use it
Pair this with other jazz standards or contemporary vocal jazz pieces to build a thematic set focused on character and storytelling. It also serves as an excellent bridge piece for directors introducing scatting and blues vocabulary to ensembles still anchored in traditional concert repertoire.
Skills your students will build
- Blues phrasing and microtonal inflection
- Reading and performing written-out scat articulations
- Jazz rhythm section coordination and groove awareness
- Syncopated rhythmic precision in group text setting
- Stylistic distinction between classical and jazz vocal production