"Just so you 'get it'.....all the staff and students ADORE you, and think you're the goddess of vocal teaching. You really raised the bar for us, and augmented the program greatly.."
Liz Masterson
Swing Week Coordinator,
Augusta Heritage Center

Michele is a very busy and highly respected teacher and clinician. She has served on the faculty at several major Universities, and her busy clinic schedule keeps her touring internationally several months out of each year. (See more info below) Choir warming up

 

 

  • Michele is currently on the faculty at University of California, Los Angeles. She is part of the Ethnomusicology/Jazz department under the leadership of well known jazz guitarist, Kenny Burrell.

  • Michele previously taught at the University of Southern California, California State University, Long Beach and The Phil Mattson School.

  • Subjects taught over the years include the following: vocal arranging, music theory, jazz theory, piano, solo singing, vocal improvisation, vocal group direction/rehearsal techniques, jazz history and studio singing.

 

 
 

JAZZ PIANO HANDBOOK

Essential Jazz Piano Skills for All Musicians
Book/CD (Alfred Publications)

If you're a jazz singer, instrumentalist or teacher and don't already have basic skills in jazz piano: now is the time! Piano skills are the gateway to understanding chords and progressions, checking lead seets for accuracy, learning new tunes, arranging, writing your own tunes, becoming a better improviser and so on. This book outlines and easy step-by-step process for learning basic jazz piano. Available for sale now at the MichMusic Store.

Click here to see sample pages from the Jazz Piano Handbook.

Section I, "The Essentials," is the study and practice of basic voicings and their application to songs.

Section II, "Above and Beyond," will expand your skills and knowledge with the addition of more sophisticated voicings, color notes, a more pianistic style of playing, and skills to harmonize a melody.

Here's what you will learn:

- Open any fake book or sheet music with chord symbols and be able to play a tune
- Teach your student how to play a tune by demonstrating it at the piano
- Accompany yourself or another singer or instrumentalist on any type of tune - swing, ballad, Latin, or other
- Get a solo piano/vocal gig
- Use the piano as a helpful tool to practice vocal improvisation
- Analyze the chord changes to a song and understand the function of each chord within the progression
- Double-check published lead sheets for accuracy, or creatively embellish your own
- Improve your composition skills by being able to play and hear the tunes you write
- Become a better-educated singer, instrumentalist or teacher of jazz, with a thorough understanding of the music and the confidence that goes along with it

The CD is included to provide a model for how the exercises should sound when played correctly, musically and with good piano technique. Also included in the book is 14 jazz piano etudes, a catalog of chord symbols and color notes, and a glossary.

 

Click here for the MichMusic Store
 
 

JAZZ SINGER'S HANDBOOK

The Artistry and Mastery of Singing Jazz
Book/CD (Alfred Publications)

This book/CD set is designed for solo jazz singers, teachers, and is ideal for classroom use. Available for sale now at the MichMusic Store.

Click here to see sample pages from the Jazz Singer's Handbook.

Section I, "The Artistry," explores the creative and expressive possibilities in jazz singing such as communicating emotion through the text, personalizing the song, coloring the melody, phrasing, elements of style, swing feel and other rhythmic grooves.

Section II, "The Mastery," provides information necessary to prepare for performance as a professional such as repertoire development, writing a lead sheet, transposing, creating an arrangement, organizing a gig book, rehearsing a rhythm section, a sitting in, and understanding jazz styles.

Chapter topics include:

- Text Delivery
- The ABCs of Swing
- Coloring the Melody
- Organizing a Gig Book
- Phrasing is your Friend!
- Rehearsing a Rhythm Section
- Preparing to Sing a New Tune
- Rhythmic Grooves and Playing Styles
- Writing a Lead Sheet
- Creating an Arrangement
- Professional Resource Guide
- Jazz Chords Library

The practice CD includes sing-along tracks for standard songs, many of which are in two keys for different voice ranges, plus recorded examples of the performance and arranging concepts presented in the text. Demonstrations by Peter Eldridge of New York Voices, and Michele. Also included in the book is jazz standard song lists, recommended CD's by 20 great jazz singers, and a thorough index/glossary of terms and concepts.

 

Click here for the MichMusic Store
 

 

VOCAL IMPROVISATION

"Thanks a bunch-all my students love the book-we call it the improv bible!"
Chris Venesile,
High School Director

Vocal Improvisation (Advance Music) was released in 2001 and is now available for sale at the MichMusic Store.


Click here to see sample pages from Vocal Improvisation.

Vocal Improvisation is currently being used as a text at several prestigious Universities including the University of Southern California, University of North Texas, and Berklee College of Music.

This book can be used by any jazz musician or aspiring jazz musician, regardless of age or experience. The beginning level exercises would be suitable for a younger age group, for example as a fun introduction to jazz for elementary school kids or a high school jazz choir. Jazz band directors can use the CD and exercises to work with horn players on concepts of jazz style and articulation. Professional singers who wish to improve their skills in improvisation can benefit from working through the more advanced exercises and studying the Jazz Fundamentals chapter.

Features of the Book:
.The CD which comes with this publication contains vocal examples with rhythm section background. The vocal examples feature Darmon Meader, Don Shelton and Michele Weir. They are recorded on one stereo side only so that you can turn them off to practice with the rhythm section tracks alone. Most written exercises in the book correspond to tracks on the CD. Several cuts contain call and response so that you can get started improvising right away, with no theoretical background. (The rhythm section features Joe LaBarbera on drums, John Clayton on bass, and Michele Weir on piano.)

.Of special interest is the Interviews with Jazz Vocalists section in Appendix A. There you will find questions and answers about jazz and improvisation from some of todays leading professional jazz singers, including Mark Murphy, DeeDee Bridgewater, Kevin Mahogany, Kurt Elling, Bobby McFerrin, Sheila Jordan, and so on.

.The Solos For Transcribing section contains a list of recorded performances suggested for listening and transcribing. Both vocal and instrumental performances are included.

.The Improvisation in the Classroom chapter is devoted to ideas, methods and games for practicing vocal improvisation with groups of students.

.The Jazz Fundamentals chapter provides basic, theoretical performance practice and keyboard information to vocalists and educators who have not had the benefit of an extensive jazz background.

.The Glossary contains musical terms and phrases relating to jazz that are an important part of the working jargon of jazz musicians.


 

 

"I have learned so much more in five lessons with you than in months of lessons previously. I know that I will bring what you have taught me into my music always."
Sonnett Simmons,
UCLA Student


MichMusicPersonalStudy. INTRODUCING:

MICHMUSIC PERSONAL STUDY

Coaching for Jazz Singers and Teachers



THE CONCEPT

MichMusic Personal Study is a mentorship program for jazz singers, teachers and players who are ready to raise the bar and enjoy a more fulfilled musical life! MichMusic Personal Study offers a unique and holistic approach to learning that embraces all aspects of you are - your strengths, your challenges or blocks, your learning style, your passions and your dreams. All levels are welcome.

QUESTIONAIRRE Begin by filling out a detailed questionairre about your musical background, learning style, areas of interest, and what you want to be when you grow up!

CUSTOMIZED CURRICULUM Together wečll establish a set of goals with a specific timeline for completion. Then, a detailed course of study will be designed specifically for you.

ORGANIZATION Youčll get a binder to keep all lesson notes, handouts, resource materials, and practice goals. Youčll also go home with a CD recording of each session.

TEAM SESSIONS Take sessions with a friend and save money! Many topics work well in a small group learning environment. (The per session cost is only slightly increased for teams of 2 of 3.)

SUPPORT Contact Michele in between sessions for questions or support of any kind. Wečre in this together

Click here to take the
MichMusic Personal Study Questionairre
now. (The survey was created with eSurveysPro.com,
a free online survey software.)



THE MENU

Choose five or more of the following topics. If you dončt live in the Los Angeles area, Internet video conference sessions are available for many topics.

I. SINGING/PERFORMING

a. Fearless Vocal Improvisation (Level I)
Level I vocal improvisation is designed for beginners in vocal improvisation, and covers syllables, feeling rhythm and łgroove,Č constructing melodic shapes thru motive development, learning to hear basic chord progressions, and gaining basic fluency in improvisation. Sessions include a combination of simple theory, call and response, and specific exercises.

b. Fearless Vocal Improvisation (Level II)
Level II Vocal Improvisation ventures into more advanced melodic territory such as the bebop language, and the art of navigating through more challenging chord progressions. Sessions include specific exercises and singing along with recorded solos.

c. Solo Singing I - Becoming A Jazz Singer
Introduction to solo jazz singing and the creative interpretation of jazz standards. Includes instruction and practice in singing ballads, swing tunes and bossa novas in a true jazz style. Perfect for singers that are new to jazz and/or coming from a classical background.

d. Solo Singing II - The Art of Communication
Exploration of the finer points of jazz singing, including the most critical element: soulful and creative expression of the emotion behind the text. Wečll explore the many creative tools available to a jazz singer including deeply feeling the groove, ornamenting the melody and rhythms, inflection, use of vibrato, phrasing, use or word stress, and so on.

e. Working with the Rhythm Section
Everything you need to know to get comfortable in working with the rhythm section, including count offs, terminology, what info they need when youčre sitting in, cueing endings, and so on. This topic will help you gain confidence with the players while also earning their respect.

f. Preparing for Your Gig, Concert or Tour
Choosing tunes and creating effective set lists, what you need to find out about the venue before the gig, organizing set up and sound check time, contacting players and communicating necessary info to them, setting up rehearsals, advertising and so on. Also, wečll talk about how to get the gig in the first place!

g. Performance Essentials
Stage presence and the power of nonverbal messages, cueing rhythm section on stage, talking with the audience in a way thatčs genuine and interesting, sound reinforcement basics (including what equipment you need), mic technique, and dealing with stage fright.

h. Recording Your Demo or CD
Everything you need to know to prepare for your recording: choosing and preparing the music, contacting the players, finding the right studio and cd duplication house, creating the artwork, the importance of singing freely without self judgment in the studio. Michele has a small pro tools set up so you can practice recording yourself to a track with headphones on, similar to how it would be in the studio.

II. THE COMPLETE MUSICIAN

a. Jazz Piano Made Easy (Level I)
Jazz Piano Level I is for solo pianists who want to get their feet wet in playing authentic sounding jazz chords. b\Begin by learning basic chord types and simple 3-note voicings. At that point, you will already be able to open a fake book and play jazz chords! Then, youčll move on to simple 4-note voicings in 2 positions, and apply them to swing and bossa nova styles.

b. Jazz Piano Made Easy (Level II)
Level II jazz piano starts where level i left off, with an exploration of interesting 5-note voicings and extensions, breaking up chords to sound more flowing and pianistic, creating intros, and playing the melody of the tune for solo piano gigs.

c. Jazz Piano - Playing With the Rhythm Section
this topic covers what you need to know to play in a rhythm section: comping (rootless chord voicings) and right hand soloing. youčll also learn how to harmonize the melody of the tune with a combination of block chords and right hand melodic lines.

d. Jazz Ropes 101 - What You Need to Know
everyone should select this topic! covers all the basics that singers and players should know about jazz: chord types, song form, groove names and characteristics, terminology and definitions, performance format, and so on.

e. Lead Sheet Writing 101
Learn to write a clear and easy to read lead sheet in your key with chord symbols, intro, endings, and road map markings such as D.S. al Coda.

f. Creative Rhythm Section Arranging
How to turn your lead sheet into a distinctive and unique arrangement through use of rhythm kicks, written out bass lines, reharmonized chord progressions, interesting structural elements, key changes, tempo changes, and so on.

g. Reharmonization Madness
In depth study of the many ways a simple tune can be transformed through reharmonizing the chord progression. Includes study of tritone and common tone subs, diatonic choral movement, approach chords by 1/2 step, by 3rds, interesting vamps, pedal tones, modal concepts, and so on.

h. Organizing Your Gig Book
Gather all of your lead sheets into a 3-ring binder gig book, and include a table of contents with songs organized by key, and style. Learn how to deal with 2 and 3 page charts, and organize your book to accommodate a section for holiday(or other) music and more elaborate (concert) arrangements.

i. Music Fundamentals
Music fundamentals is for those who have never studied music, or need a refresher course. it covers all of the basics you need to know: treble and bass clefs, key signatures, meter signatures, counting rhythms, simple note reading, and so on.

j. Sight Reading/Ear Training
Dig in and refine your sight reading and ear training skills. specific exercises for both, including methods for improving skills in the fastest and most effective way. Ideal for vocal group singers, and very useful for any musician.

k. Building a Music Career You Love
So, you love singing jazz, but how do you do it as a career? Wečll explore and define the steps necessary to build a unique career that you love. Also, being in the music business doesnčt mean youčre limited to performing - there are numerous options for both professional and semiprofessional music careers, including the business of music, sound reinforcement (live), recording, publishing, promotion, management, writing/arranging, teaching, and so on.

l. Vocal Group Arranging (Level I)
Basics of writing a capella and accompanied vocal group charts in 2 and 4 part (four-way close and drop 2.) Covers intros and endings, creative note, rhythm and chord progression alterations, and overall arrangement structure.

m. Vocal Group Arranging (Level II)
Designed for more experienced arrangers. Wečll study arrangements youčve already written to consider options for refinement. Youčll also write new arrangements and explore various creative chord voicings, reharmonization, arrangement structure, and so on.

III. TEACHER TOPICS
(Also see above topics which may be applicable to teachers.)

a. Starting a Vocal Jazz Ensemble
For teachers who want to start a vocal jazz program, everything you need to know to get started: auditioning, where to find literature, preparing for rehearsal, numerous tips on running your rehearsal effectively, working with sound system and rhythm section, and so on.

b. Your Jazz Choir - Raising the Bar
For directors with established vocal jazz programs, tips and techniques for getting the group to sound itčs best: clean up the intonation, balance, blend, sing with a beautiful tone, feel the inner rhythm to really swing, sing dissonant chords with ease, tighten up entrances and releases, and so on. Wečll explore various styles of arrangements and address any questions you may have.

c. Teaching Vocal Improvisation and Solo Singing
This topic explores methods of teaching vocal improvisation and solo singing within the jazz choir rehearsal using group activities and games. Because of time limitations you probably have in rehearsal, efficiency will be emphasized, as well as ideas for student activities outside of class.

d. Coaching Your Student Rhythm Section
Everything you need to know about working with your student rhythm section: parts of the drum set and how to play common styles, set ups and fills, and how to construct walking bass lines and piano comping chords from chord symbols. Information on how to get your rhythm section to play with strength and consistency as a solid team.

IV. VOCAL GROUP COACHING
Coaching is available for established professional (local or visiting) and high school or college vocal groups. General feedback on all aspects of the music and performance, fine tuning, tips and so on.



WHERE ARE THE SESSIONS?
Sessions are held in Michelečs Glendale, California home studio. Emma the wonder dog may be on hand to offer her expertise in between naps.

WHAT IF I DON'T LIVE IN LOS ANGELES?
Consider a visit to L.A. for a few days, a few weeks, or a few months. Info on Los Angeles, recommended local accomodations and transportation is available upon request.

Also, video conference sessions are available for most topics. Hurrah for technology!

HOW DO I START?
Fill out the MM Personal Study Questionnaire below. All instructions plus info on rates is included.

Click here to take the
MichMusic Personal Study Questionairre
now. (The survey was created with eSurveysPro.com,
a free online survey software.)

FOR MORE INFO

Michele Weir
michele@micheleweir.com
818.563.6500


 

 

"We learned soooooo much--everyone felt that way--all I've gotten were raves about the day... and concert.... one of my VERY experienced older singers said, 'I've got a lot of ideas and questions now--that was very thought provoking.'"
Jan DeShera,
Mount Diablo Valley College


Michele is one of the busiest vocal jazz clinicians and adjudicators in the world. She makes frequent appearances in Canada, Europe and all around the U.S. Notable recent clinics include the World Choral Symposium, the National American Choral Directors Association (A.C.D.A.) Convention, and the International Association for Jazz Education (I.A.J.E.) Conference. For a listing of upcoming events go to Michele's Schedule.

Michele has also worked as a Los Angleles based clinician for various educational touring companies such as Educational Field Services, ALFEA Tour Consultants and World Events.

List of past clinic/adjudicator and guest artist appearances. (Partial list)

  • Reno; University of Nevada. Clinician/adjudicator. (multiple appearances)
  • New York City; Clinician. Featured soloist in Carnegie Hall concert. (multiple appearances)
  • Los Angeles; five days of workshops with visiting Danish vocal group, "Vox Polish."
  • Flagstaff; Northern Arizona University. Clinician. (multiple appearances)
  • Sonora, Ca.; Columbia College. Clinician/adjudicator and guest artist on evening concert. (multiple appearances)
  • Edmonton and Calgary; Alberta Music Conference. Clinician. (multiple appearances)
  • Copenhagen, Denmark; 2-day special workshop by invitation of the Choral Union.
  • Helsinki, Finland; guest lecturer at the Sibelius Academy and the Jazz/Pop Conservatory. (multiple appearances)
  • North and South Carolina; clinician for several local schools including the University of South Carolina.
  • Blacksburg, Virginia; Virginia Tech. Clinician and guest artist on evening concert.
  • Chicago/Detroit areas; clinic tour at various schools including Northwestern University, Western Michigan University and Wayne State University.
  • Decatur, Illinois; Millikan College Clinician and guest artist on evening concert.
  • Peoria, Illinois; Director of All-state jazz choir.
  • Creston, Iowa; School for Music Vocations. Clinician/adjudicator and guest artist on evening concert. (multiple appearances)
  • Ames, Iowa; Iowa State. Clinician/adjudicator
  • Mt. Caramel, Pa.; director of district festival.
  • Ottawa, Ontario; MusicFest, Canada. Clinician/adjudicator and guest artist on evening concert. (multiple appearances at MusicFest festivals all over Canada)
  • Amsterdam, Netherlands; Hilversums Conservatory. Clinicician.
  • West Palm Beach, Florida; concerts and clinics at West Palm Beach Community College. (multiple appearances)
  • Miami; University of Miami. Clinician. (multiple appearances)
  • Regina, Saskatchewan; special 2-day workshop at Campbell Collegiate High School.
  • Santa Cruz, California; Santa Cruz Jazz Festival. Clinician/adjudicator.
  • Toronto, Ontario; Ontario Vocal Festival. Clinician/adjudicator and guest artist on evening concert. (multiple appearances)
  • Powell River, British Columbia; Clinician/adjudicator.
  • Greeley, Colorado; University of Northern Colorado. Clinician/adjudicator and guest artist on evening concert. (multiple appearances)
  • Orlando, Florida; Collegiate Showcase held at Disneyworld. Clinician/adjudicator and guest artist on evening concert.
  • Tallahassee, Florida; Florida State University. Clinician.
  • Monterey, California; Educational festival on Monterey Jazz Festival grounds. (multiple appearances)
  • Banff, Alberta; Rocky Mountain Festival. Clinician/adjudicator and guest artist on evening concert. (multiple appearances)
  • Savannah, Georgia; special clinic presentations for Georgia Music Educators Association.
  • Atlanta, Georgia; Georgia State University. Clinician/adjudicator and guest artist on evening concert.
  • Chicago; Northwestern University. Clinician/adjudicator and guest artist on evening concert.
  • Vancouver, British Columbia; Clinician/adjudicator and guest artist on evening concert. (multiple appearances)
  • Brandon, Manitoba; Adjudicator and guest artist at vocal jazz festival. Guest artist on evening concert.
  • Fresno, California; director of California All-State jazz choir.
  • Vancouver, British Columbia; Clinician adjudicator for Soudwave vocal jazz festival. (multiple appearances)
  • Edmonton, Alberta; MusicFest Canada. Clinician/adjudicator and guest artist on evening concert.
  • Lawrence, Kansas; University of Kansas. Clinician/adjudicator.
  • Belgium and South Africa; World Youth Choir. Co-conductor with Steve Zegree.
  • Berkeley, California; Clinics at "The Jazz School." (multiple appearances)
  • Powell, Wyoming; Clinician/adjudicator for festival and guest artist on evening concert.
  • La Crosse, Wisconson; Clinician/adjudicator and guest artist on evening concert.
  • Colorado Springs, Colorado. Conductor, Colorado All State jazz Choir.
  • Oakdale, California; Guest vocalist with big band in local jazz series (mulitple appearances)
  • Green Bay and Madison, Wisconson. Conductor, All State jazz Choir.
  • Graz, Austria. Judge for vocal group competition.
  • Las Vegas, Nevada. Conductor of district choir.
  • San Luis Obispo, Ca. Adjudicator for vocal jazz festival at Cuesta College, and guest artist on evening concert with guitarist, Bruce Forman. (multiple appearances)
  • San Jose, Ca. Adjudicator/clinician for San Jose Jazz Society festival. Guest artist on concert jazz series with guitarist, Bruce Forman.
  • Bellevue, Wash. Adjudicator and guest artist for Bellevue Comm. College jazz festival.
  • Numerous other clinics given at Conservatories and events in the Netherlands, Belgium, Denmark and Germany.

Summer Workshops

  • The Phil Mattson Vocal Jazz Workshops (Los Altos, California; Kalamazoo, Michigan; Minneapolis, Minnesota; Spokane, Washington; River Falls, Wisconsin; Creston, Iowa)
  • University of North Texas, Vocal Jazz Workshop (Denton, Texas; multiple appearances)
  • Soundwave Vocal Jazz Workshop (Vancouver, British Columbia; multiple appearances)
  • Vocal Jazz Workshop (Bologna, Italy)
  • Pink Pop Jazz Workshop (Ibbenburen, Germany; multiple appearances)
  • Workshops and Concerts (Isla de Cerrito, Argentina)
  • Speech Level Singing Institute workshop with Seth Riggs (Los Angeles; multiple appearances)
  • Teacher Training Institute, sponsored by I.A.J.E. (Florida and Missouri)
  • "Vocal Jazz Days" Jazz Workshop (The Netherlands)
  • Fairbanks Summer Arts Festival (Fairbanks, Alaska; multiple appearances)
  • Jazz Camp West (La Honda, California; multiple appearances)
  • The Steve Zegree Vocal Jazz Workshop (Kalamazoo, Michigan)
  • Swing Week (Augusta West Virginia)
  • Vocal Jazz Workshop (Bonn, Germany; with Darmon Meader and Matthias Becker)