This research is an analysis of the range of skills and knowledge required to produce, effectively, results in the Art of Lyric Improvisation in the field of jazz singing. Lyric Improvisation is the art of retaining the primary lyrics of a song but, using improvisational inventiveness, changing every other aspect. The study focuses on the manipulation of melody, rhythm, time feel, style, range, articulation and improvisation in the performances of renowned jazz vocalists Sarah Vaughan and Carmen McRae. The research is based on their multiple recordings of "Sometimes I'm Happy" (Youmans/Caesar) between the years1955-1965. The method compares different elements of the individual singers' improvisations to the published notation. These elements include: syncopation of the rhythm, motific development, expanding the range of pitch, variances in timbre and articulation and spontaneous re-composition of the melody all while maintaining the original lyric. The outcomes, however, can be applied over a multitude of tunes from any American Song Book composer or jazz standard sung in historically swing styles of the past century, or with contemporary developments.

This bachelor thesis concerns an analysis of the concept of lyric improvisation, meaning improvising over the melody and lyrics of a jazz standard within the classic vocal jazz tradition. In order to explore this concept, I have studied the use of melody alteration in the song “Mean to Me” as performed by the renowned jazz vocalists; Sarah Vaughan, Betty Carter, and Ella Fitzgerald. After transcribing one chorus each from the three singers, where they improvised melodically and rhythmically while maintaining the lyric, I discovered specific vocal improvisational tools they all used, which I then formulated into a list. The list divided the tools into three categories; melodic, rhythmic, and lyric-related tools. Then I practiced applying these tools to my craft as a jazz vocalist and later presented my adaption of the concept of lyric improvisation in a concert at the Royal College of Music in Stockholm. In conclusion, studying vocal tools for lyrical improvisation made me discover that it’s not merely the selection of tools but how one uses and combines the tools that define a jazz vocalist’s individualistic, improvisational style. / <p>Repertoar:</p><p>Mean to Me (Fred E. Ahlert/Roy Turk)</p><p>Medley: I Love You/What is This Thing Called Love (Cole Porter)</p><p>The Month of May (Emmalisa Hallander)</p><p>Leaving or Arriving (Emmalisa Hallander)</p><p>But Not for Me (George Gershwin/Ira Gershwin)</p><p>Lush Life (Billy Strayhorn)</p><p></p><p>Medverkande musiker:</p><p>Emmalisa Hallander - sång</p><p>Milos Lindegren - piano</p><p>Jakob Ulmestrand - kontrabas</p><p>Henrik Jäderberg - trummor</p>