The Art of Scat Singing: Finding Freedom Through Sound
Scat singing is one of the most iconic — and intimidating — aspects of jazz vocals. To the untrained ear, it can sound wild, unpredictable, maybe even chaotic.
But to a jazz vocalist, scat is pure creative freedom: a way to communicate beyond lyrics, using the voice like an instrument, in real time.
If you’ve ever wondered how singers pull off such effortless melodic flights, or if you’ve wanted to try scat but didn’t know where to start — this article is your invitation.
1. What Is Scat, Really?
Scat singing is the practice of improvising melodies and rhythms using non-lexical syllables — think “do-bop-ba,” “shooby-doo,” or “zay-da-da.”
But it’s not random.
Behind every syllable is intention: rhythmic choices, melodic direction, harmonic awareness, interaction with the band.
Scat turns the voice into a horn, a piano, a drum — and in doing so, it connects the singer more deeply to the music.
Famous examples?
- Ella Fitzgerald’s legendary improvisations.
- Louis Armstrong’s rough-edged, playful scatting.
- Mel Tormé’s smooth, horn-like approach.
Each had a distinct style, but all treated scat as serious musical communication.
2. Why Do Jazz Singers Scat?
Because sometimes, words are not enough.
Scat allows vocalists to:
- Explore a melody without the limits of language
- Respond to the energy of a solo or groove
- Add texture and excitement to a performance
- Take creative risks and discover new ideas
It’s a way of “soloing” like an instrumentalist — spontaneous, personal, expressive.
3. How Do You Learn to Scat?
The idea of making up sounds on the spot might seem terrifying. But scat isn’t about being fearless — it’s about learning to play. And like any form of play, it starts simple.
Here’s how to begin:
• Start with imitation
Listen to your favorite scat solos and sing along. Copy phrasing, rhythm, and articulation. Think of it like learning a language by mimicking native speakers.
• Build your vocabulary
Choose a few syllables you feel comfortable with. Don’t overthink it — “ba,” “doo,” “la,” “za,” — anything works, as long as it feels natural to you.
• Focus on rhythm first
Even if your melody is basic, strong rhythmic phrasing will make your scat sound musical. Clap along, tap your foot, internalize the groove.
• Use call-and-response
Record yourself or scat with another person. Echo each other. Trade 4s. Challenge each other. Jazz is dialogue — keep it conversational.
4. Finding Your Scat Style
No two scat singers sound the same — and that’s the beauty of it.
Some use soft, flowing lines. Others are percussive and fast. Some are rooted in bebop language, others lean more bluesy or avant-garde.
Don’t force a sound — find it.
The more you practice, the more your scat will start to reflect your musical instincts, your influences, and your emotional world.
5. From Practice to Performance
When you start integrating scat into your singing, do it sparingly. A short phrase in the middle of a song. A playful ending. A subtle vocal echo to an instrumental solo.
Build trust with yourself. Be willing to mess up. Laugh when it feels awkward. Keep going.
With time, scat becomes not just a technique — but a voice of its own.
Final Thought
Scat singing is not about showing off. It’s about showing up.
In the moment.
In the rhythm.
In your voice.
At Jazzoral, we treat scat not as a gimmick, but as a core jazz skill — one that connects the singer to their voice and their bandmates in a way no written lyric ever could.
Let yourself speak without words.
The music is listening.
