DEFINE

YOUR VOICE

WITH
DIANNE REEVES

openstudionetwork.com ©2018 Open Studio

v.1
TABLE OF CONTENTS
MEET THE ARTIST................................................................................................. ii
WELCOME............................................................................................................ iii
1. INTRODUCTION: DEFINE YOUR VOICE........................................................... 1
2. DIANNE’S MUSICAL INSPIRATION................................................................... 2
3. LIVING THE LYRICS............................................................................................ 4
4. MAKING A STANDARD YOUR OWN............................................................... 13
5. SPONTANEOUS ARRANGING......................................................................... 29
6. STORYTELLING AND SONGWRITING: “INFANT EYES”................................ 34
7. SINGIN’ THE BLUES......................................................................................... 38
8. BRAZILIAN EXPLORATIONS............................................................................ 41
9. DUO CONVERSATIONS................................................................................... 62
10. INVITATION TO IMPROVISATION................................................................. 73
11. LEADING WITH THE VOICE.......................................................................... 75
12. EMBRACING DIFFERENT STYLES................................................................. 86
13. MASTERCLASS............................................................................................... 93
14. DISCUSSION WITH A PROTÉGÉ................................................................... 97
15. MICROPHONE TECHNIQUES....................................................................... 99
16. PROTECTING YOUR VOICE........................................................................ 101
17. REFLECTIONS: SARAH, CARMEN, BETTY AND BEYOND.......................... 103
18. FINALE......................................................................................................... 106

TOOLS INCLUDED IN THIS COURSE

With this course we have a variety of tools for our
members to use.

Workbook Use this as a supplement to each lesson. Find

transcriptions, charts, helpful tips and iconic quotes from
Dianne Reeves throughout the chapters in this course.

Living Notation Our handy “Living Notation” feature

allows you to see what notes and chords are being
played or sung in real time during selected sections of
the lessons.

Downloadable Audio Download and listen to the

audio from these lessons anywhere.

DIANNE REEVES i
 MEET THE ARTIST

ABOUT
DIANNE
REEVES

Five-time Grammy winner DIANNE REEVES is the pre-eminent jazz vocalist in the world. As a result of her
breathtaking virtuosity, improvisational prowess, and unique jazz and R&B stylings, Reeves received the
Grammy for Best Jazz Vocal Performance for three consecutive recordings – a Grammy first in any vocal
category. Featured in George Clooney’s six-time Academy Award nominated “Good Night, and Good Luck,”
Reeves won the Best Jazz Vocal Grammy for the film’s soundtrack.
Reeves has recorded and performed with Wynton Marsalis and the Lincoln Center Jazz Orchestra. She has
also recorded with the Chicago Symphony Orchestra conducted by Daniel Barenboim and was a featured
soloist with Sir Simon Rattle and the Berlin Philharmonic. Reeves was the first Creative Chair for Jazz for the
Los Angeles Philharmonic and the first singer to ever perform at the famed Walt Disney Concert Hall.
Reeves worked with legendary producer Arif Mardin (Norah Jones, Aretha Franklin) on the Grammy winning
A Little Moonlight, an intimate collection of standards featuring her touring trio. When Reeves’ holiday
collection Christmas Time is Here was released, Ben Ratliff of The New York Times raved, “Ms. Reeves, a jazz
singer of frequently astonishing skill, takes the assignment seriously; this is one of the best jazz Christmas CD’s
I’ve heard.”

In recent years Reeves has toured the world in a variety of contexts including “Sing the Truth,” a musical
celebration of Nina Simone which also featured Liz Wright and Angelique Kidjo. She performed at the White
House on multiple occasions including President Obama’s State Dinner for the President of China as well as
the Governors’ Ball.

Reeves’ most recent release Beautiful Life, features Gregory Porter, Robert Glasper, Lalah Hathaway and
Esperanza Spalding. Produced by Terri Lyne Carrington, Beautiful Life won the 2015 Grammy for Best Jazz
Vocal Performance. Reeves is the recipient of honorary doctorates from the Berklee College of Music and
the Juilliard School. In 2018 the National Endowment for the Arts will designate Reeves a Jazz Master – the
highest honor the United States bestows on jazz artists.

In 2018, Dianne was honored as an NEA Jazz Master, which is the highest honor that our nation bestows on
jazz artists.
DIANNE REEVES ii
 WELCOME
Hi everybody!

My name is Dianne Reeves and welcome to Open Studio! I’m here to take you on a journey through:

• Jazz and jazz vocals,

• The ability to direct and communicate with a band,
• How to open up a lyric to put yourself inside of it,
• Ballads,
• Up-tempos,
• Mixtures of genres,
• All kinds of music and different kinds of tunes,
• How to be inspired by the things that people are playing,
• Improvisation,
• And more to help you have the tools to find a palette that will help you develop your own voice.

All of these things that maybe you were afraid to ask, but I’m here, right here for you, to inspire you and
hopefully help you on your journey.

I’ll even do a masterclass on film, so you can see just how all of this comes together and works for your
benefit. I’ve been very fortunate in my career to work with musicians from all over the world and it’s a
wonderful thing because you never know where you find yourself in the music, and every time you find
something that looks familiar or a place that you understand, it makes you expand. So we’re going to go
into music from all over the world.

We’re going to dispel the myth that a singer is one thing, and a musician is another. The fact that the
voice is the first instrument, it means that you as a singer, ARE a musician.

We’re going to learn by doing. I came from living schools, and so that’s what I want to bring to you: a
living school. I’ve invited a couple of my friends to join me, and we’ll go on that journey together. As a
young artist, I listened to everything. All genres of music: great instrumentalists and great singers. And so
now, what I want to do is share with you part of my journey and the people that inspired me. I’m going
to give you advice on finding your own voice through composition: writing your own words, your own
melodies and harmonies that really enhance what it is that you love to do.

Mainly, I’m here to help you find confidence in your own voice. You see, there’s nobody like you in the
whole world. Everybody is unique, you have a very special gift and I’m here to help you refine it, define it,
respect it and move forward with confidence.

Happy Practicing,

Dianne Reeves

DIANNE REEVES iii

1
Introduction: Define Your Voice

“There’s nobody like you in the world.

Everybody is unique, you have a very special gift and I’m
here to help you refine it, define it, respect it and move
forward with confidence.”

DIANNE REEVES 1
2
Dianne’s Musical Inspiration
Dianne Reeves describes her experiences with growing up and getting involved in
all styles of music and what inspired her to make singing her career.

NOTES

GOOGLE IT!

• “Joy” by Edwin Hawkins, from the album “O

Happy Day”

• Lullaby of Birdland - Sarah Vaughan with

Clifford Brown

• Magnificat - Bach (BWV 423 III. Aria

(Soprano 1): Quia respexit)

“When I have a song and I wanna sing it a certain

way, I’m gonna do it the way I want to do it, and I’ve
been doing that since that time.”

DIANNE REEVES 2
NOTES

DIANNE REEVES 3
3
Living the Lyrics
Dianne Reeves gives you tips for choosing a song, connecting with the lyrics, and
making the tune your own.

SUB-CHAPTERS

0:01 How to Roadmap Your Lyrics

3:46 “Skylark” - Lyrics by Johnny Mercer, music by Hoagy Carmichael

8:11 “Skylark”, arr. Peter Martin

12:31 Final Words

“Read the lyrics,

but not in the rhythm of the song. Like you’re
talking to someone and you’re telling the story.”

DIANNE REEVES 4
 3

“Words are very very powerful.

You can create stories with words.”

PRO-TIP!
Look for opportunities in your song to change the melody with the intent of emphasizing
aspects of the message, and to make it your own. You can change your vocal color, timbre,
dynamics, and you can even pull back on the time/rhythm.

BONUS LEAD SHEET: Skylark arrangement from Dianne’s album A Little Moonlight

Lyrics
Skylark By Hoagy Carmichael

Skylark, have you anything to say to me,

Can you tell me where my love can be?
Is there a meadow in the mist
Where someone’s waiting to be kissed?

Skylark, have you seen a valley green with spring

Where my heart can go a-journeying
Over the shadows and the rain to a blossom-covered lane?
And in your lonely flight, haven’t you heard the music in the night?
Wonderful music, faint as a will-’o-the-wisp, crazy as a loon,
Sad as a gypsy serenading the moon, oh

Skylark, I don’t know if you can find these things,
But my heart is riding on your wings
So if you see him anywhere
Won’t you lead me there

Skylark

DIANNE REEVES 5
 From Dianne Reeves' "Define your voice"

A
Skylark Carmichael/Mercer
Arr. Peter Martin
B¨^7 C€7 D€7 E¨^7 B¨^7 E7(#11) E¨^7 D€7 G7[áÆ]

& bb œ™ œ œ ˙ Œ œ œœœ œ Œ œœœ

œ œ œœœœ˙ œ œ œ
Sky - lark have you an - y -thing to say to me Won't you tell me where my
5 C€9 D€7 G7[áÆ] Cm11 F7sus4 D€7 Cm11 F7sus4
bb
Gm11
‰ ‰ j j œ œ œ œ œœ ˙ j
&
œ™œ œ œ œ™ œ œ
œ œ œ œ œ œ™ œ œ ‰#œ
love can be Is there a mea -dow in the mist where some -one's wait -ing to be kissed Oh,

9 Em11 A13(#11) Cm11 F7sus4 F#º7 Gm11 E7(#11) E¨^7 D€7 G7[áÆ]
b
& b œ™ œ œ ˙ Œ œ œ œœœœ
œ™ œ œ œ ˙
Œ
œ œ œ œœœ
Sky - lark have you seen a val -ley green with spring Where my heart can go a -

C€9 D€7 G7[áÆ] Cm11 F7sus4 B¨ Ebm11 Bbma D7äÆ

j
13

& bb ‰ ‰ j b œ ‰ j œ
œ™ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ #œ nœ œ ˙ œœ
jour ney ing o - ver the sha -dows and the rain to a blos - som co -vered lane And in your
B Gm11 C7(#11) Fm11 Fm11/Bb Bb7(b9) Ebma7 Dm7(b5) G7(b13)
‰ b œj œ œ œ
17
b ‰ œJ œ œ b œ
&b œ œ œ ˙
3
œ œ™ œ œ ˙ œ œ
œ œ
lone -ly flight ha -ven't you heard the mu -sic in the night won - der ful mu - sic

21 Cm11 Ab13 Bb7sus4 3 Db13(#11) Dma7 Bm7 E13 A7äÆ G7sus4

bb œ œ œœœ˙
3
#œ œ œnœ œ œ œ
3 3
& œ œ#œnœ œ #œ nœ œ ˙
œ œ œ œnœ œ
Faint as a will o' thewisp cra -zy as a loon Sad as a gyp -sy se - re - na ding the moon

25 C B¨^7 C€7 D€7 E¨^7 B¨^7 E7(#11) E¨^7 D€7 G7[áÆ]

b Œ œ œ ≈ œ œœ œ
&b œ™ œ œ ˙ Œ
3

œ œœœ ˙ œœ œœœœ
Sky - lark I don't know if you can find these things but my heart is ri -ding

29 C€9 D€7 G7[áÆ] Cm11 F7sus4 B¨ E¨‹11 F7(b9) B¨

bb ‰ ‰ j b œ nœ w
3 3
& œ œ œ œ
œ œ œ œ œ œ™ œ
œ œ œœ œœ œ
on your wings so if yousee them an - y where won't you lead me there

DIANNE REEVES 6
Transcription from Dianne Reeves “Define Your Voice”
Living The Lyrics
3. Living the Lyrics
3:57

4:50

© 2018 Open Studio

DIANNE REEVES 7
© 2018 Open Studio

DIANNE REEVES 8
© 2018 Open Studio

DIANNE REEVES 9
 From Dianne Reeves' "A Little Moonlight"

Skylark Carmichael/Mercer
Arr. Peter Martin

b 4° ™™ ü 44 ? ™
INTRO

& b 4 ¢ ™™ ? ™ ?J ? ™ ?J 4 U ™
Bbma7/F F7sus4 Bbma7/F F7sus4

† ?J U U
3 3x

°
A
%Bbma7/F
& b ¢ ™™ œ ™ œ ˙
5 F7sus4 Bbma7/F F7sus4 Gm9 Em11 Fm7
b j Ó œ œ œ œ œ Ó
w œ ˙ œœœœ w œ œ
Sky - lark have you an - y - thing to say to me Won't you

12 Bb13sus4 Ebma7 Dm7 G7äÆ Cm11

bb 3 4 Œ
˙™
& œ œ j 4 4
œ
œ œ œ™ œ œ œ œ œ
tell me where my love can be Is there a
16 F7sus4 Db/Eb Ab13(#11) Gm11 Cm11 F7sus4
bb œ œ œ œ œ œ w Œ #œ
˙™
& œ œ ˙
œ œ œ
mea - dow in the mist where some - one's wait - ing to be kissed Oh,
21 B Em11 A13(#11) Cm11 F7sus4 F#º7 Gm11 Gm11 Em11
bb j
& œ™ œ ˙ w Ó œ œ œ œ œ œ œ™ œj œ œ w
Sky - lark have you seen a val - ley green with spring

27 Fm9 Bb7sus4 Bb13 Ebma7 Dm7 G7äÆ Cm11

b 3 4 Œ
&b Ó œ œ œ ˙™
œ œ j œœ 4 4
œ œ œ™ œ œ œ œ œ
Where my heart can go a - jour ney ing o - ver the
32 F7sus4 Gm11 Ebm11 Bbma D7äÆ
bb Œ
&
œ œ œ œ ˙ œ œ b œ #˙ nœ œ w
œ œ
œ
sha - dows and the rain to a blos - som co - vered lane And in your
C
™ œj ˙
37 Gm11 C7(#11) Fm11 Fm11/Bb Bb7(b9) Ebma7 Dm7(b5)
b Œ œ œ œ bœ
3
&b œ œ ˙ w œ œ w Œ bœ œ œ œ
œ œ V.S.
lone - ly flight ha- ven't you heard the mu - sic in the night won - der - ful

© Open Studio 2018 DIANNE REEVES 10

2
44 G7(b13) G7(b9)/B Cm11 Ab13 Bb7sus4 3 Db13(#11)
bb
3 3
& ˙ ˙ ˙ œ œ œ #œ nœ œ ˙ œ œ œ œ œ w
mu - sic Faint as a will o' the wisp cra - zy as a loon

49 Dma7 3 Bm7 E13 A7äÆ G7sus4

b 3
& b #˙ œ œ nœ #œ œ œ n œ œ #˙ n˙ n˙ w ˙
Œ œ
œ
Sad as a gyp - sy se - re - na - ding the moon Oh,

&b œ™ œ ˙
54 Bbma7/F Bbº/F Bbma7/F Em11 Ebm11 Gm9 Gm11 Gbm9(b6)
b j Ó œ œ ‰ œ œj œ
3
w œ ˙ œœœ w
Sky - lark I don't know if you can find these things

to coda Ø
60 Fm9 Bb7sus4 Bb13 Ebma7 Dm7 G7äÆ Cm11
b 3 4 Π3
&b Ó
˙™
œ œ œ 4 4
œ œ œ ˙ œœœœ œ œœœ
but my heart is ri - ding on your wings so if you

‰ œ ™ bw
65 F7sus4 Bbma/D Ebm11 F13(b9) Gm11 Gm11 G7äÆ C7äÆ
b 3
&b œ œ
b˙ n˙ w ˙
œ œ œ œ œ ˙
see them an - y where won't you lead me there oh

™™ ü
F13(b9) D.S. al Ø ØCODA
CODA Cm11 F7sus4 Bbma/D Ebm11 F13(b9)
U
71
b bŒ
†
3 3
& b bw b
rubato
&
œ œœœ œ œ œœœ ˙ œ œ b˙ n˙
rit. so if you see them an - y where won't you lead me

76
b
Gm11 G7äÆ C7äÆ F13(b9)
U fl Bbma

&b w ˙ ˙ bw bw œ
œ œ œ ˙ w
there oh Sky lark

© Open Studio 2018 11

DIANNE REEVES
NOTES

DIANNE REEVES 12
4
Making a Standard Your Own
Dianne Reeves discusses the numerous possibilities that are afforded a vocalist
who sings classic jazz standards, and how to make these timeless songs unique to
you and your sound.

SUB-CHAPTERS

1:41 Ballad: “That’s All” by Bob Haymes & Alan Brandt

2:48 Remix: “That’s All”

7:44 Demos and Directing

15:48 How to Know When to Come In

18:03 Tips from Dianne

“You have to trust yourself, you have to trust

your ideas and go with them and
develop them in the moment,
because it’s about being in the moment.”

DIANNE REEVES 13
 4

“When you go to a jam session, it’s about

being a part of a collective. You jump right
in and contribute to that energy.”

PRO-TIPS! NOTES
• Listen to a jazz standard performed in many
different ways, with various arrangements. See
what differences they provide.
• Understand and know the form of the song in
depth.
• Think of ways to make your jazz standard unique
to you. Make it yours!
• In rehearsals and with your band, know exactly
what you want to do and when, so you can lead
them.
• Define who will receive cues in your band. Know
when to cue the correct person, and make sure
your band knows how you will gesture and direct
them.
• Give your band any vocal/melodic ideas you
have, and count off your tempo to begin the
song in the way that you want, for both tempo
and feel.

DIANNE REEVES 14
Lyrics 4

That’s All By Alan Brandt

I can only give you love that lasts forever

And a promise to be near each time you call,
And the only heart I own
For you and you alone,
That’s all, that’s all.

I can only give you country walks in springtime

And a hand to hold when leaves begin to fall,
And a love whose burning light
Will warm the winter night,
That’s all, that’s all.

There are those, I am sure, that have told you

They would give you the world for a toy.
All I have are these arms to enfold you
And a love time can never destroy.

If you’re wondering what I’m asking in return, dear,

You’ll be glad to know that my demands are small.
Say it’s me that you’ll adore
For now and ever more,
That’s all, that’s all.

If you’re wondering what I’m asking in return, dear,

You’ll be glad to know that my demands are small.
Say it’s me that you’ll adore
For now and ever more,
That’s all... That’s all.

DIANNE REEVES 15
 From Dianne Reeves "Define Your Voice"

That's All HAYMES/Brandt

°™
A Bbma7 Cm7 Dm7 G7 Cm7 F7 Bbma7
& œ œ ¢™œ œ œ œ œ œ œ œ ˙
b b Ó
˙ œ œ
œ œ œ œ
I can on - ly give you love that lasts for - e - ver and a pro- mise to be

˙™
7 Fm7 Bb7 EØ7 Ebm6
b œ œ œ œ
&b œ œ œ œ w Ó œ œ œ
near each time you call and the on - ly heart I own for

12 Dm7 G7 Cm7 DØ7 G7 Cm7 F7

b
&b œ œ œ œ ˙ ˙
Ó ˙ w Ó
œ œ
w
you and you a - lone that's all that's all I can

B
18 Bbma7 Cm7 Dm7 G7 Cm7 F7 Bbma7
& bb œ œ œ œ œ œ œ œ ˙ ˙ Ó œ œ œ œ
œ œ
on - ly give you coun - try walks in spring - time and a hand to hold when

˙™
23 Fm7 Bb7 EØ7 Ebm6
& bb œ œ œ œ w Ó œ œ œ œ œ œ œ
leaves be - gin to fall and a love who's burn - ing light will

28 Dm7 G7 Cm7 F7 Bbma7

b
&b œ œ œ œ ˙ ˙ w
Ó
˙
Ó œ
w œ
warm the win - ter's night that's all that's all There are

© Open Studio 2018

DIANNE REEVES 16
2

C
34 Fm7 Bb7 Ebma7 C7(b9)
b
&b ˙ œ œ ˙ bœ œ ˙ ˙ ˙ œ
œ
those I am sure who have told you they would

38 Fm7 Bb7 Ebma7 Gm7

b œ ˙ œ œ
&b ˙ œ ˙ œ bœ w Ó
œ œ
give you the world for a toy All I have are these

43 C13(b9) Fma7 D7(âÁ] Gm7

b
&b ˙ œ œ ˙ ˙ Ó
œ œ œ œ œ œ
arms to en - fold you and a love that time can

47 C7 Cm7 F13(b9) D Bbma7 Bº7

b
&b œ œ nœ w Ó
œ œ œ œ œ œ
œ
ne - ver de - stroy If you're won - dering what I'm

51 Cm7 C#º7 Dm7 G7 Cm7 F7 Bbma7

b b Ó
& œ œ œ ˙ ˙ œ œ œ œ
œ œ œ
ask - ing in re - turn, dear You'll be glad to know that

˙™
55 Fm7 Bb7 EØ7 Ebm6
b œ œ œ œ
&b œ œ œ œ w Ó œ œ œ
my de - mands are small say it's me that you'll a - dore for

Dm7 G7 Cm7 F7 B¨Œ„Š7

60
b
&b œ œ œ œ ˙ ˙ w Ó
˙
Ó
w ˙
now and e - ver more That's all, that's all

© Open Studio 2018

DIANNE REEVES 17
 Transcription from Dianne Reeves “Define Your Voice”
Making A Standard Your Own
4. Making a Standard Your Own
1:52

2:50

© 2018 Open Studio

DIANNE REEVES 18
© 2018 Open Studio
DIANNE REEVES 19
© 2018 Open Studio
DIANNE REEVES 20
© 2018 Open Studio
DIANNE REEVES 21
© 2018 Open Studio
DIANNE REEVES 22
© 2018 Open Studio
DIANNE REEVES 23
© 2018 Open Studio
DIANNE REEVES 24
© 2018 Open Studio
DIANNE REEVES 25
10:05

© 2018 Open Studio

DIANNE REEVES 26
© 2018 Open Studio
DIANNE REEVES 27
NOTES

DIANNE REEVES 28
5
Spontaneous Arranging
Dianne Reeves goes through her process for creating new arrangements and new
ideas in real time on stage with her band.

SUB-CHAPTERS
PRO-TIP!
1:15 “Misty” by Eroll Garner & Johnny Arranging a ballad on stage is all about
Burke listening to each other, as well as having
a trusting relationship with the musicians
4:52 Notes on Arranging “Misty” you’re playing with.

“It’s about being able to continue on and keep

moving without feeling like you destroyed the song.
It’s just an opportunity to try something new.”

DIANNE REEVES 29
 5

Lyrics
NOTES
Misty By Johnny Burke

Look at me
I’m as helpless as a kitten up a tree
And I feel like I’m clinging to a cloud
I can’t understand
I get misty, holding your hand

Walk my way
And a thousand violins begin to play
Or it might be the sound of your hello
That music I hear
I get misty the moment you’re near

You can say that you’re leading me on

But it’s just what I want you to do
Don’t you realize how hopelessly I’m lost
That’s why I’m following you

On my own
Would I wander through this wonderland alone
Never knowing my right foot from my left
My hat from my glove
I get misty, and too much in love

I’m too misty, and too much in love

DIANNE REEVES 30
 From Dianne Reeves "Define Your Voice"

Misty Erroll Garner/Johnny Burke

°™
A

& œ œ¢ ™
B¨Œ„Š7 F‹9 B¨13 E¨Œ„Š9 E¨‹9 A7(b13)
b b ‰
3 3
j
˙™ œ œ bœ
œ œœœ œ œ œ œ œ œ œ™ œ
œ ˙ œ œœ
œ œ
Look at me I'm as help - less as a kit - ten in a tree and I feel like I'm cling - ing to a vine I

6 D‹7 G‹7 C‹7 F7 D‹7 G7(#11) C‹9 F13(b9)

bb
3
& œ j j Œ œ
œ œ œ œ œ œ w ˙ œ
œ œ œ œ œ
can't un - der - stad I get mis - ty just hol - ding your hand Walk my

B
10 B¨Œ„Š7 F‹9 B¨13 E¨Œ„Š9 E¨‹9 A7(b13)
bb
3 3
‰ j
˙™
& œœœœœ œ œ œ œ œ œ™ œ
œ œ bœ œ ˙ œ œ œœ
œ
way and a thou - sand vi - o - lins be - gin to play or it might be the sound of your hel - lo that

14 D‹7 G‹7 C‹7 F7 B¨Œ„Š7 A¨13 B¨Œ„Š7

bb
3 3
& j j Œ
œ œ œ œ œ œ
œ œ œ œ œ œ œ œ w œ œ œ
mu - sic I hear I get mis - ty whe - ne - ver you're near You can say that you're

C F‹7 C7[äÆ] F‹7 B¨7(b9) E¨Œ„Š7 F‹7 E¨/G F‹7 E¨Œ„Š7

18 3
b 3 3
& b bœ œ œ ˙ œ b œ œ nœ b œ œ œ œ œ ˙ Œ œ
3
œ œ œ œ
lea - ding me on But it's just what I want you to do Don't you no - tice how

22 E‹9 A13 G‹9 C13 D‹7 D¨13 G¨Œ„Š9 G¨13(“4) F©13(b9)

b
&b œ œ œ œ ˙ ‰ œj œ œ œ œ œ w ˙ Œ #œ #œ
3
hope - less - ly I'm lost That's why I'm fol - low - ing you On my

© Open Studio 2018 DIANNE REEVES 31

2
D

™ œj
26 BŒ„Š7 F©‹9 B13 G‹9 C7 FŒ„Š7 F‹9 B¨13
bb
3 3
#œ œ #œ œ nœ nœ œ ‰
# ˙ ™# œ# œ nœ
& nœ œ œ œ œ œ
˙ nœ œ œ œ
own would I wan - der thru this won - der - land a - lone ne - ver know - ing my right foot from my left my

30 E‹7 A‹7 E¨‹9 A¨13(b9) B13(#11) B¨7(b9)

bb j 3
& nœ œ œ œ œ œ j w ˙ Ó
œ œ œ œ bœ œ
hat from my glove I'm too mis - ty and too much in love

34
b
E¨‹11 F13(“4)
U , rubato E‹11 A13(b9) j D‹9(b5) G7[äÆ]
j
& b Œ ‰ j b œj œ œ œ œ œ j ‰œ w
œ œ œ œ œ œ œ œ œ œ œnœb œ ˙
so mis - ty and too much in love in love

C‹11 B¨(„ˆˆ9)/D E¨Œ„Š9 C(„ˆˆ9)/E F13(“4) F13(b9) B¨6

U U
38
b œ3 œ œ œ
&b œ œ œ œ œ œ œ œ w
3 œ bœ ˙ look at me

© Open Studio 2018 DIANNE REEVES 32

NOTES

DIANNE REEVES 33
 6
Storytelling and Songwriting:
“Infant Eyes”
Dianne discusses how to express emotion while singing ballads as well as how she
wrote the lyrics for Wayne Shorter’s classic, “Infant Eyes.”

SUB-CHAPTERS

2:19 “Infant Eyes” By Wayne Shorter. Lyrics by Dianne Reeves.

5:19 The Meaning Behind the Lyrics

SONGWRITING CHECKLIST NOTES

Think of all the emotions you feel around a

specific topic and try to apply them to the song
lyrics of the ballad you’re writing. Your song
doesn’t have to conform to typical melodic or
harmonic musical rules.

Rewrite your own lyrics to a song you like.

Write lyrics to a song that doesn’t have words.

Write your own song, and do something special

to make it completely unique to you!

“Every musician creates their own universe”

DIANNE REEVES 34
 6
Lyrics
Infant Eyes - lyrics by Dianne Reeves

A breath before a sound

The light that greets the dawn
Love that fills your eyes
Brings joy that makes me cry

Rain and thunder fill the night

While silently you sleep
The peace and light you bring
Makes time a precious thing

Sweet miracle of love

Bears hopes beyond my reach
Your infant eyes will see
New possibilities

HIGHLIGHTED ARTIST

WAYNE SHORTER
Wayne Shorter (born 1933) is an American jazz saxophonist and
composer who came to prominence in the late 1950s. His style is very
free and open with lots of space, and he continues to perform and
compose to this day.

Dianne says his sound is, “always reaching into space, into the
darkness, into the beyond. His song ‘Infant Eyes’ always puts me in this
incredible place of peacefulness and stillness.”

DIANNE REEVES 35
 FROM Dianne Reeves "Define Your Voice"

INFANT EYES
WAYNE SHORTER/DIANNE REEVES

°™
A
™
¢™˙ œ œ œ œ ˙™
G‹7 F‹7 E¨Œ„Š7 A13(b9)
& bbb œ ˙ œ œ œ œ ˙ œ
˙
A breath be - fore a sound the light that greets the dawn The

6 G¨Œ„Š7 E¨/F E¨‹7 A¨/B¨ B¨7½

& bbb ˙ œ œ ˙™ Œ bœ œ
œ œ œ b˙ œ bœ w ˙
œ b œ
love that fills your eyes brings joy that makes me cry Rain and

#˙ ™
B E¨Œ„Š7
#˙ ™
11 EŒ„Š7(#11)/E¨ E¨Œ„Š7(#11) EŒ„Š7(#11)
b œ #œ n˙
&b b ˙ œ œ œ
œ œ œ œ #œ
œ
thun - der fill the night while si - lent - ly you sleep the

#œ b ˙ ™
15 BŒ„Š7 A¨/B¨ A¨‹7 D¨/E¨ D7½
b
& b b #˙ œ
#œ #œ œ b˙ œ bœ w ˙ Œ
œ b œ œ
peace and light you bring makes time a pre - cious thing Sweet

œ œ œ œ ˙™ ˙™
20 G‹7 F‹7 E¨Œ„Š7 A13(b9)
& bbb ˙ œ ˙ œ œ œ œ
œ
mi - ra - cle of love there's hopes be - yond my reach Your

™™ ü
24 G¨Œ„Š7 E¨/F E¨‹7 A¨/B¨
b œ ˙™
&b b ˙ œ
œ œ œ b˙ œ œ œ bœ w ˙™
Œ †
in - fant eyes will see new pos - i - bi - li - ties

DIANNE REEVES 36
© Open Studio 2018
NOTES

DIANNE REEVES 37
7
Singin’ the Blues
The Blues is an essential aspect and influence of the jazz style, and it gives a jazz
singer the opportunity to express emotions that all humans feel. In this lesson,
Dianne Reeves gives you all the tools you need to sing the Blues in the traditional
style, with Latina “World” influence, and in your own way.

SUB-CHAPTERS

1:27 Traditional Blues Style: “Rocks in my Bed” by Duke Ellington

7:12 Blues Inspiration: How to be Inspired by the Blues Style

8:26 The Blues Progression + Brazil = Baião

13:26 Pro-Tip!

14:55 Blues Wrap-Up

“If you can learn how to sing the blues, you can
learn how to have the foundation to be able to
communicate with just about any jazz musician
that you want to, from anywhere in the world.”

DIANNE REEVES 38

Lyrics
Rocks in my Bed By Duke Ellington
My heart is heavy as lead
Because the blues done spread
Rocks in my bed
Of all the people I see
Why do they pick on poor me
And put rocks in my bed
I’m under-loved and over-fed
Lord, enough said
I got rocks in my bed
I said, I got rocks in my bed
Big old rocks in my bed
Lord knows I got rocks in my bed
7
PRO-TIPS!
• Stay in the moment, think of your emotions
and allow them to guide you.
• To think of lyrics in the Blues style, think
about stories in your life that you can tell.
• Practice singing the Blues with various
groupings of musicians and instruments.
• Try different styles of blues music from
different cultures, and even create your
own!
• In the Baião style, sing major 7ths instead
of a dominant 7th where possible!

Of all the people I see

Why do they pick on poor me
And put rocks in my bed

If I’m feeling tomorrow
Like I feel today
If I’m feeling tomorrow
like I feel today
Gon pack up all my bags
And make my getaway

I got rocks in my bed
Rocks in my bed “Be respectful of the
I got rocks in my bed
Under-loved and overfed way that different
Guess that’s enough said
I got rocks, I got rocks, cultures play different
I got rocks, I got rocks Johnson in my bed.
kinds of things…
A girl’s gotta do what a girl’s gotta do!
Respect comes first.”

DIANNE REEVES 39
NOTES

DIANNE REEVES 40
8
Brazilian Explorations
Dianne Reeves’ sound is largely influenced by the culture and sound of South
America, specifically Brazil. In this lesson, she demonstrates how Brazilian music
has impacted her life and her sound, from an early audition through the music
she performs today. Dianne and her guitarist, Romero Lubambo perform several
songs to show how the mixing of genres creates a new and unique sound.

SUB-CHAPTERS

0:25 “Triste” music and lyrics by Antonio Carlos Jobim

6:33 Jump Right In! (Dianne’s audition story)

9:17 Latin Rhythm

12:07 “Love for Sale” (from the musical ‘The New Yorkers’ by Cole Porter)

18:33 The Breakdown: Samba, Blues and Funk

20:00 The Mashup: Chula Style

“Don’t be intimidated or inhibited, just jump in

and do the things that you love to do.”

DIANNE REEVES 41
 8
Lyrics
Triste By Antonio Carlos Jobim
NOTES
Sad is to live in solitude
Far from your loving attitude.
Sad is to know that no one ever can live on a dream
That never can be, will never be
Dreamer awake, wake up and see.

Your beauty is an aeroplane

So high, I can’t stand the strain
A heart that stops when you pass by
Only to cause me pain
Sad is to live in solitude

GOOGLE IT!
• Flora Purim: Stories to Tell (1974): Insensatez
• Sergio Mendez
• The Girl from Ipanema
• Wave/Vou Te Contar - Antonio Carlos Jobim
• Samba music
• Bossanova
• Porcheduato
• Baião

DIANNE REEVES 42
 8
Lyrics
Love for Sale By Cole Porter

Love for sale

Appetizing love for sale
Love that’s fresh and still unspoiled
Love that’s only slightly soiled
Love for sale

Who will buy?

Who would like to sample my supply?
Who’s prepared to pay the price
For a trip to paradise?
Love for sale

Let the poets pipe of love

In their childish way
You see, I know every type of love
Better far than they

If you want the thrill of love,

I’ve been through the mill of love
Old love, new love
Every love but true love

Love for sale

Appetizing young love for sale
If you want to try my wares
Follow me and climb the stairs
Love for sale.

“The music of Brazil is joyous, it makes you want to

dance. It’s music for the head because the poetry is so
beautiful, and it’s for the spirit because it lifts you…
and it’s definitely for the feet.”

DIANNE REEVES 43
 From Dianne Reeves "Define Your Voice"

Triste
A.C Jobim
INTRO

4° ™™ ü
& b 4 ¢ ™™ ?? ?? ?? ?? ??? ? ? ??? ? ??? ?? ?? ?? ?? ??? ?
AŒ„Š7 A‹11 A% B¨Œ„Š7/A

A
9 Ama7 Fma9 Bb9(#11)
j j j j
& b œ™ #œ ‰ œ ‰ œ œ #œ j j œ™ w ˙
Ó
#œ œ
Sad is to live in so - li - tude

13 Ama7 D7(#11) C©m7 F©7(b9)

j j j
&b Œ ‰ œ #œ œ œ œ #œ j j œ w
#œ œ œ
Far from your tran - quil al - ti - tude

j # œ œ #œ n˙ ™
17 Bm7 Bm/A G#Ø7 C©7[äÆ] F©m7 F©m/E E¨Ø7 A¨7[äÆ]
3
& b Œ #œ œ œj œ œj œj œ # œj œj j #œ
#œ™ nœ # œ œ
Sad is to know that no one e - ver can live on a dream that

21 D¨ma7 A¨7sus4 A¨7(b9) D¨m9 G¨7 Bm9 E7

j j j j ‰ j‰ j
& b œ #œ œ œ œ œ œ #œ œj ˙ #œ # œ œ œ œ ™ # œ œ œ˙
ne - ver can be will ne - ver be dream - er a - wake wake up and see

© Open Studio 2018 DIANNE REEVES 44

2
B
25 Ama7 Dm9 G7sus4
j j
&b Œ ‰ œ #œ œ œ œ #œ # œj œj œ™ w ˙ Ó
Your beau - ty is an ae - ro - plane

29 F©m9 Em9 A7(b9)

j j j
& b Œ ‰ œ #œ œ œ œ #œ # œj œj œ œj w Ó Œ ‰ œ
So high my heart can't bear the strain A

33 Dma7 G13(#11) Ama7/C© Cº7

&b j œ œj œj #œ nœj œ Œ j
œ œ # œj n œ Ó
œ nœ# œ œ œ n˙
heart that stops when you pass by On - ly to cause me pain

™™ ü
37 Bm9 E7(“4) Fma9 Bb13(#11)

&b Œ †
‰ j j
œ # œ œ œ œ n œ œj œj j
#œ œ w
Sad is to live in so - li - tude

© Open Studio 2018 DIANNE REEVES 45

 From Dianne Reeves "Define Your Voice"

Love For Sale

Cole Porter
Arr. Lubambmbo/Reeves
INTRO
E¨7 B¨7 E¨7 B¨7 A E¨7
& 4 ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ≈ œR
b b4 œ Œ Œ ≈ œr ≈ œr
Love for sale

6 B¨7 E¨7 B¨7 E¨‹7 A¨7

& bb œ Œ Ó ‰ œ œ œ œ œ ≈ œr ≈ œr œ Œ Ó ≈œ œ œ œ œ œ œ
Ap -pe - tiz - ing love for sale Love that's fresh yet still un - spoiled

10 D¨‹7 G¨7 C‹7(b5) F7 B¨7(“4)

b b ≈ bœ œ œ œ œ Œ Œ Œ Ó
& œ bœ œ bœ œ
Love that's on - ly slight - ly soiled Love for sale

B
13 E¨7 B¨7 E¨7
b bœ Œ Œ ≈ œr ≈ œr œ Œ Ó ‰ œ œ œ œ œ œ œ œ
&
Who will buy? Who would like to sam - ple my sup -

16 B¨7 E¨‹7 A¨7 D¨‹7 G¨7

& bb œ Œ Ó ≈ œ œ œ œ œ œ œ ≈ bœ œ œ œ œ œ bœ
ply? Who's pre - pared to pay the price for a trip to pa - ra - dise

19 C‹7(b5) F7 B¨7(“4) C E¨‹7 A¨7

& bb œ Œ Œ Œ Ó ≈ r≈ r œ œ œ
bœ œ œ œ bœ œ
Love for sale Let the po - ets pipe of love

DIANNE REEVES 46
© Open Studio 2018
2

22 D¨Œ„Š7 B¨7 E¨‹7 A¨7 C&7(#9) D¨Œ„Š7

b
& b ≈ r ≈ b œr œ œ b ˙ ≈ r≈ r ≈ r≈ r œ œ ˙
œ œ œ bœ œ œ œ œ œ bœ
in their child - ish way I know e - very type of love bet - ter far than they

≈ r≈ r œ b œ œ œ œ b œ ™ œ œ œ ™ œ œ
25 FØ7 B¨7[áÆ] E¨‹6 GØ7 C7(b9)
b
& b ≈ r ≈ œr œ œ b œ œ œ œ œ
œ
If you want the thrill of love I've been thru the mill of love Old love, New love,

28 G¨‹11 AŒ„Š9/B B¨13 D E¨7 B¨7

b ≈ œr ≈ œr œ
& b nœ œ œ œ œJ ≈ b œR œ œ Œ Œ Œ Ó
E - very love but true love Love for sale

31 E¨7 B¨7 E¨‹7 A¨7

b r r ≈œ œ œ œ œ œ œ
&b ‰ œ œ œ œ œ ≈ œ ≈ œ œ Œ Ó
Ap -pe - tiz - ing love for sale If you want to buy my wares,

™™ ü
34 D¨‹7 G¨7 C‹7(b5) F7 B¨7(“4)
b
& b ≈ bœ œ œ œ œ œ bœ œ Œ Œ
bœ œ
Œ Ó †
Fol - low me and climb the stairs Love for sale.

DIANNE REEVES 47
© Open Studio 2018
Transcription from Dianne Reeves’ “Define Your Voice”

Brazilian Explorations
8. Brazilian Explorations
0:15

© 2018 Open Studio

DIANNE REEVES 48
© 2018 Open Studio
DIANNE REEVES 49
© 2018 Open Studio
DIANNE REEVES 50
© 2018 Open Studio
DIANNE REEVES 51
© 2018 Open Studio
DIANNE REEVES 52
© 2018 Open Studio
DIANNE REEVES 53
 12:05

© 2018 Open Studio

DIANNE REEVES 54
© 2018 Open Studio
DIANNE REEVES 55
© 2018 Open Studio
DIANNE REEVES 56
© 2018 Open Studio
DIANNE REEVES 57
© 2018 Open Studio
DIANNE REEVES 58
© 2018 Open Studio
DIANNE REEVES 59
© 2018 Open Studio
DIANNE REEVES 60
NOTES

DIANNE REEVES 61
9
Duo Conversations
Dianne demonstrates the advantages of performing in duos and trios with guitar
and piano. She performs three jazz compositions to help express the vast differ-
ences that are afforded to a singer that performs with different instrumentations.

SUB-CHAPTERS

1:37 Voice and Guitar: “Love is Here to Stay” by George & Ira Gershwin

5:54 “The Whisper”

7:40 Voice and Piano: “That’s All” by Alan Brandt and Bob Haymes

13:12 Voice/Piano/Guitar: When a Duo becomes a (Non-Traditional) Trio: “I’m in Love

Again” by Cy Coleman & Peggy Lee

19:42 Communication and Soloing in a Trio

“Try to have a conversation with one another

through the music, so that it is not only entertaining
for the audience, but there is also a connection
between you and the person you’re working with.”

DIANNE REEVES 62
 9
“We have the opportunity to paint pictures
with words.”

PRO-TIPS! NOTES

• Make sure you are working with band members/

musicians you can trust and enjoy making music
with.
• Give clear hints and gestures to the other
musicians to make it easier for them to follow
you.
• Be honest when you’re singing… allow your
daily experiences to inspire every performance.
• Use the opportunity of playing in a smaller
group to sing at a gentle speaking dynamic,
and experiment with the unique colors you can
create.
• Don’t be afraid of mistakes!
• Never stop finding new ways to change your
pieces and make them different each time. Don’t
settle!

DIANNE REEVES 63
 9
Lyrics
That’s All

I can only give you love that lasts forever,

And a promise to be near each time you call.
And the only heart I own
For you and you alone
That’s all, baby that’s all.

I can only give you country walks in the springtime

And a hand to hold when leaves begin to fall.
And the love whose burning light
Will warm the cold winter’s night,
Oh, that’s all.

I’m in Love Again

I’m in love again,

And the feeling’s not new.
Yes, I know the signs, Love is Here to Stay
And I know what to do.
It’s very clear, our love is here to stay
It’s a highway Not for a year but ever and a day
That I have travelled through before The radio and the telephone and the movies that
And I know all the signs we know
I’ve come back for more and more May just be passing fancies and in time may go
I’m alive again But oh, my dear, our love is here to stay
I can wake up and sing Together we’re going a long, long way
Nothing bores me now, In time the Rockies may crumble, Gibraltar may
I enjoy everything. tumble
They’re only made of clay
Here I go again But our love is here to stay
The way that I always do In time the Rockies may crumble, Gibraltar may
Cause I’m in love again tumble
All over again with you. They’re only made of clay
But our love is here to stay
I love you.

SEE PAGE 17 FOR “THAT’S ALL” LEAD SHEET

DIANNE REEVES 64
 From Dianne Reeves "Define Your Voice"

Love Is Here To Stay George & Ira Gershwin

Arr. Romero Lubambo

°™ 3x ü
INTRO

& b 4 ¢ ™ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ™™ † ? ? ? ? ? ? ? ?
Bbma9/D Gbma9/Bb Bbma9/D
b 4

°™
¢™w
7 A C7 F7 B¨Œ„Š7 G7(#5) C9
œ w
????
Gbma7 G7(&5)
& bb Œ œ œ
œ ‰œ œœœ œ w Œ œ œ
J
It's ver - y clear our love is here to stay Not for a year

14
b
F7 E‹7 A7œ œ œ D‹7
˙ œ™ œ œ œ œ œ œ œ œ œ œ
G7 C‹7 F7 B¨Œ„Š7
w
&b œ œ œ œ œ Œ J
but e - ver and a day The ra - di - o and the te - le - phone and the mov - ies that we

A‹7(b5) D7(b9) G‹7 C7 E¨/D¨

w F©7(“4) E¨7(b9)/G
20
b œ œ œ ‰ œ œJ nœ œ Œ bœ bœ œ
& b œ™ J œ œ œ œ
know May just be pass - ing fan - cies And in time may go. But oh my
B
A¨‹6 E¨7(b9)/G B/F© F7(#9)
bœ E¨/F
25

& bb b w ‰ bœ bœ œ œ œ
J
bw Œ bœ bœ w
dear, Our love is here to stay To - ge - ther we're

30 Eº7 A¨Œ„Š7/C œ œ b œ E¨‹7

BŒ„Š7(b5)/B¨
b œ œ nœ b œ œ b œ b œ œ œ b œ œ™
A¨7 D¨‹7 G¨7
b bœ œ w
& b bœ œ œ Œ J J J
go - ing a long long way In time the Rock - ies may crum - ble, Gi - bral - tar may tum - ble,

35 BŒ„Š7
b œ b œ b˙
EŒ„Š7 Fº7F7(b5) E¨‹7
bœ b œ œ b˙
A¨7 D¨‹7 G¨7 BŒ„Š9/E¨

? ? ? ?
b œ œ œ b ˙ ˙
&b ‰ J Œ w
They're on - ly made of clay, But Our love is here to stay/

™ ü
GŒ„Š9/B
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ™†
41 Bbma9/D Gbma7 G7(&5)
& bb

© Open Studio 2018 DIANNE REEVES 65

 From Dianne Reeves "Define Your Voice"

I'm In Love Again

Cy Coleman/Peggy Lee

°™
A FŒ„Š7 D‹11 D¨‹11 C‹11 B‹11 E7[âÄ]

& œ œ ¢ ™ œ œ ˙™
3
b Œ
œ œ œ bœ œ w ˙ œ œ
I'm in love a - gain and the fee - ling's not new Yes, I

6 E¨Œ„Š9 A‹11 D7[âÄ] G‹7

3
&b œ œ ˙™ Œ
œ œ œ œ bœ w
Ó œ œ œ œ
˙
know the signs and I know what to do It's a high - way that

Ϫ
11 C7(“4) FŒ„Š9 F‹9 E‹9
&b œ œ œ ˙ ˙ œ œ
œ œ J #œ
˙ œ
I have tra - veled through be - fore And I know all the

15 A7(“4) A7 DŒ„Š7 D7 D¨7(#11) C7(“4) B FŒ„Š7

&b
n˙
‰ j
# œ œ œ #œ œ ˙ ˙ œ œ œ œ ˙™
curves and I've come back for more I'm a - live a - gain

19 D‹11 D¨‹11 C‹11 B‹11 E7[âÄ] E¨Œ„Š9

3 3
&b Œ œ œ ˙™
Œ
œ œ œ bœ œ w ˙ œ œ œ œ œ œ bœ
I can wake up and sing no - thing bores me now I en - joy e - verey

24 A‹11 D7[âÄ] G‹7 B¨º7 3 A‹7

j 3
&b w Ó œ œ œ œ ˙ œ ‰ œ œ #œ œ œb œ œ
w
thing Here I go a - gain the way that I al - ways do

& b Œ ‰ j œ ™ œ œ œ œ ™ œj œ œ œ œ œ
29 A¨º7 G‹7 C7(“4) FŒ„Š7
j Ó
w ˙
bœ
cause I'm in love a - gain all o - ver a - gain with you

© Open Studio 2018

DIANNE REEVES 66
 Transcription from Dianne Reeves “Define Your Voice”

Duo Conversations
9. Duo Conversations
1:35

IM IN LOVE AGAIN TRANSCRIPTION

2:50

© 2018 Open STudio

DIANNE REEVES 67
5:32

7:38

© 2018 Open STudio

DIANNE REEVES 68
© 2018 Open STudio
DIANNE REEVES 69
13:10

17:08

© 2018 Open STudio

DIANNE REEVES 70
17:40

© 2018 Open STudio

DIANNE REEVES 71
NOTES

DIANNE REEVES 72
10
Invitation to Improvisation
Improvisation is a key part of the jazz style, and in this lesson Dianne demonstrates
her improvisational method. She gives lots of tips and sources of inspiration for
improvising, and helps you think of ways to find your own improvisational voice.
Watch closely as Dianne mimics other instruments with her syllables and hands
while she sings.

SUB-CHAPTERS “Improvisation is probably

10:19 Improvisation Tips
the house that most jazz
musicians live in.”

PRO-TIPS! NOTES
• Allow your ideas to come out, choose which
ones you want by weighing your options, and
put the other ideas aside.
• Be yourself, and allow the music to flow through
you.
• Live in the moment and experience everything
that you’re feeling.
• Don’t edit or change your ideas afterwards-
whatever happens in the moment is indicative of
that moment, and it lives there.
• Don’t feel okay staying in your comfort zone.
• Take ideas that you like from other sources and
add them to your own sound.
• Practicing improvisation will help you be
able to handle whatever happens in future
performances.

DIANNE REEVES 73
NOTES

DIANNE REEVES 74
11
Leading With The Voice
Dianne demonstrates how she leads her band. She conducts them and shows how
she changes songs to manipulate the melodies and harmonies to make the song
have new meaning at every performance. She also discusses how to make the
audience feel involved, by giving them a chance to sing during the show.

SUB-CHAPTERS

0:22 “Minuano” by Pat Metheny

4:58 How to be a Great Vocal Leader

10:17 Leading and Co-Creation with Your Band

12:53 Giving Your Band Good Cues

21:48 Involving the Audience

24:47 Ending the Song Together

“As leader of the band, some times it’s up to me

to conduct what’s getting ready to happen.”

DIANNE REEVES 75
 11

“It’s all very organic and you do what you feel

in the moment.”

HOW TO BE A GREAT VOCAL LEADER FOR YOUR BAND

• As the leader, you absolutely have

to know the structure of the song
and the way the song unfolds.
• Study and know the forms of all
your songs backwards and forwards
so you can create and make it your
own on top of the songs. Find
places in your songs to vary each
performance. Count out where you
can leave the song and come up
with something else.
• Conduct your band clearly.
Familiarize them with your gestures
and nuances in rehearsals to allow
them to get used to your style, and
get used to watching you for these
cues.
• Make sure your band is prepared for HOW TO INVITE THE AUDIENCE TO PARTICIPATE
the changes and improvisations you
• Have the audience clap along first so that
want to create.
they can internalize the rhythm.
• You may want to give them a cue
• Start off the audience with simple melodies
2-4 beats before the downbeat of
to sing back to you.
the new material.
• Listen to them closely, and gauge how
complex or simple the melodies you
continue to create should be for the
particular audience. The more difficult the
melodies are, the more fun they may have
while trying to follow you!

DIANNE REEVES 76
 From Dianne Reeves "Define Your Voice"

Minuano Pat Metheny

? 3 ° ™™ œ & ™™ †
ü
INTRO
B‹7 F©‹7 B‹7 F©‹7
4¢ œ #œ œ #œ œ œ #œ œ #œ
#œ #œ

° ™#œ œ œ œ œ #œ œ #œ
A

&¢ ™ œ œ œ #˙ ™
5 B‹7 F©‹7 B‹7 F©‹7 B‹7
#œ
˙ Œ #œ œ œ œ œ

œ œ œ œ œ œ œ ˙™ ™™ ü
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œ #œ œ œ nœ ˙
†
& ˙ Œ

™
B D‹7 E‹7 A(“4) A D‹7
œ œ œ œ œ œ œ œ œ œ ˙ ˙ œ œ œ œ œ œ
15

& Œ

œ œ ˙™
E‹7
œ œ A‹9 D‹7
œ œ œ œ E‹7 œ œ
A‹9
œ ˙ œ
20
˙ Œ œ œ œœ
&

˙™ ˙™
˙™ ™™ ü
26 F©Ø7 D‹7 E‹7 A(“4) A
œ œ œ œ œ œ œ œ œ
& J J †
To Coda (last x)

fi F©‹7
˙™ ˙™ ˙™ œ ˙™ ˙™ ˙™
FŒ„Š7 D‹7
œ œ œ œ
& Œ Œ œ

˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ >œ
GŒ„Š9/B B¨Œ„Š7 A(“4)
œ œ œ
& Œ J‰Œ Œ

© Open Studio 2018

DIANNE REEVES 77
Transcription from Dianne Reeves “Define Your Voice”
Leading With The Voice
11. Leading with the Voice

© 2018 Open Studio

DIANNE REEVES 78
© 2018 Open Studio
DIANNE REEVES 79
© 2018 Open Studio
DIANNE REEVES 80
DIANNE REEVES 81
12:51

© 2018 Open Studio

DIANNE REEVES 82
© 2018 Open Studio
DIANNE REEVES 83
© 2018 Open Studio
DIANNE REEVES 84
NOTES

DIANNE REEVES 85
12
Embracing Different Styles
Dianne Reeves discusses her experience with international music and musicians
from different countries and genres. She demonstrates how international
musicians influenced her style and sound, featuring her songs “Nine” and the
ever-changing, improvised song “Tango du Jour” accompanied by Peter Martin
(piano) and Romero Lubambo (guitar).

SUB-CHAPTERS
4:48 “Nine” by Dianne Reeves
9:35 Notes from Dianne
12:28 A Global Understanding Of Music
14:27 “Tango du Jour,” improvised
PRO-TIPS!
• Don’t be afraid of odd tempos and
time signatures.
• Play music by artists who look
different from you, and come from
different countries.
• Listen to all kinds of music from lots of
different cultures.
• Find music from other languages that
you enjoy!

“The first thing I had to do was go and listen, and

hear, and feel how the musicians approached the
music.”

DIANNE REEVES 86
 12
Lyrics
Nine

I remember nine
As if it were yesterday
I can hear my friends outside of my window
Say, “Can you come out and play?”
Anna brought a bag of her mama’s cooking spoons
So we could dig a big hole, to try to reach China
And get there by early noon

Our imaginations soared on golden wings

Across a sky filled with dreams
Any child could wear a paper crown
And be a king or queen at nine

I remember days of playing without a care

Then coming home with sniffles and clothes hanging off me
With leaves in my hair
Everybody’s child belonged to the neighborhood
So you could tell your troubles to wise Aunt Savannah
Cause she always understood

Running endless through a field

Of emerald green beneath a broad
Open sky
I will treasure all my dreams when
I was innocent and free at nine

Runnin’ and jumpin’ and skippin’ and laughin’

Rollin’ and shakin’ and jokin’ and hidin’
Mother may I, Simon says, you’re it, you spit
Hide and seek, you peeked, no I didn’t, yes you did
You’re not fair, I don’t care, I saw Sammy’s underwear
Double dutch, kick ball, hop scotch, bobby socks
Mary Mack all dressed in black
Who is that? Can she play jacks?
I’m the doctor, you’re the nurse
Whatchu’ mean, I was first
Shovin’ and pushin’
Cryin’ and screamin’
Dreamin’ and beamin’ and dancin’ in a line
Oh I gotta go, I hear my momma call me
It’s dinner time... nine

Nine still lives deep inside of me

DIANNE REEVES 87
 12

“Imagination and possibilities shouldn’t be

stopped by what you think is appropriate or
right... be yourself !”

GOOGLE IT! NOTES

• Wayne Shorter: Native Dancer (1974) featuring

Milton Nascimento
• Caldera (1970s band)
• Sergio Mendez
• Elis Regina
• Ivan Lins
• Dori Caymmi
• Wave by Jobim
• A Retrospective of Antonio Carlos Jobim (1996)
by Antônio Carlos Jobim: The Girl from Ipanema
• Harry Belafonte
• Ernesto Antonio “Tito” Puente
• Eduardo del Barrio
• Motown

DIANNE’S TOP 3
LATIN FEMALE SINGERS
• Celia Cruise
• Elis Regina
• Cesária Évora

DIANNE REEVES 88
 From Dianne Reeves "Define Your Voice"

NINE DIANNE REEVES/Eduardo del Barrio

INTRO
œ œ œœœœ œ œ
CŒ„Š7
7 œ œ œ œ
& 4 œ œ œ œœ œ œ œ œ œ œ œ œ œœ œ ‘ ‘ ‘

°™
A CŒ„Š7

&¢ ™ Ó
5 B¨Œ„Š7(b5) A‹9
Œ ‰ j Ó ‰ œj Œ ‰ j‰ j‰ j
œ œ œ œ ˙ œœœ œ œ œ ˙™
I re -mem- ber nine as if it were yes - ter - day

Œ œ œ œ œ™ œ j ‰ j
8 FŒ„Š7 D‹9 G7(“4)
& ∑ œ œ œ œœœ œ œ
Ó ‰ j
œ
œ œ œ
I can hear my friends out - side of my win - dow say "can you come

B
11 CŒ„Š7
j
CŒ„Š7
œ œ œ œ ˙
B¨Œ„Š7(b5) 3
œ
& œ œ œj w ∑ œ
Ó Œ ‰ J Ó ‰œœ œ œ
3
J
out and play?" An - na brought her bag of her mom- ma's

‰ j œ œ œ œ™ œ
15 A‹9 FŒ„Š7
& œ ‰ œ œ œj ˙ ™ ∑ Œ ‰ j œ
œ œœ œ œœ
cook - ing spoons So we could dig a hole and try to reach

18 D‹9 G7(“4) CŒ„Š7

j
& œ Ó ‰ j
œ œ œ œ œj œ ∑
œ œ œ w
Chi - na and get there by ear - ly noon

© Open Studio 2018

DIANNE REEVES 89
2 C
21 FŒ„Š7 D‹9 G‹11
j j
& Ó œ œJ œ œ œ œ œ œ œ j Ó Œ
œ œ œ œœ œ ˙ bœ œ
Our i - ma - gi - na - tion soared on gol - den wings a - cross the sky filled with

24 E‹11 C©‹11 F©13(#11)

j
& w Œ Ó Ó ‰ #œj #œ œ œ œ #œj j
#œ #œ œ œ # œ œj œ œ
dreams An - y child could wear a pa - per crown and be a king or

27 F‹7 A¨Œ„Š7(b5)/G CŒ„Š7 D¨Œ„Š7(b5)/C

& bw ˙™ w
Ó
w ˙™ w ˙™ w ˙™ w ˙™
œ
queen at nine nine
D
33 CŒ„Š7 B¨Œ„Š7(b5) A‹9
j
& Ó Œ ‰ œ œj œ œ ˙ Ó ‰ œ œ œ œ Œ ‰ œj ‰ œj ‰ j ∑ ‰ jœ œ œ
œ ˙™ œ
I re -mem- ber days of play - ing with - out a care Then co - ming home

& œ ™ œ œj ‰ j ˙
37 FŒ„Š7 D‹9 G7(“4) CŒ„Š7
j
‰ œj Œ œ œœ œ j ∑
œ œ ˙ œ w
œ œ
with snif - fles and clothes hang - ing off me with leaves in my hair
E
41 CŒ„Š7 B¨Œ„Š7(b5) A‹9
j j
& Ó Œ ‰ œ œ œ œ ˙ Ó ‰ œ œ œ œ Œ ‰ œj ‰ œj ‰ j ∑ ‰ jœ œ œ
œ ˙™ œ
E - very bo - dy's child be - longed to the neigh - bor - hood So you could tel

ü
& œ™ œ œ Œ ‰ j ˙ ∑ ™™ †
45 FŒ„Š7 D‹9 G7(“4) CŒ„Š7
‰ œj j
œ œ œ œ œ œ œ ˙™
œ œ œ ‰ œ ‰ j
œ œ
your trou - bles to wise Aunt Sa - van - nah cause she al - ways un - der - stood

© Open Studio 2018

DIANNE REEVES 90
 From Dianne Reeves "Define Your Voice"

Tango du Jour Dianne Reeves

°™
& 4 œ #œ œ œ œ œ ¢ ™ ˙
DØ7 G7(b9) C‹6 3
bb 4 ‰ j
b œ ‰ j
œ œ œ œ œ œ œ œ ˙ Œ ‰ œj œ œ œ œ œ œ
n˙ œ nœ
6 D7 G7 A DØ7
b ‰ œj #œ œ œ œ œ
& b b œ™ j ˙ Œ ≈
œœœœ œœœ w
nœ œ w œ

‰ j œ œ ™ œœ ˙ œ œ œ ™ j
11 G7 C‹6 D7 G7(b9)
b
&b b ‰ j œ œ™ j ‰ œœ œœœ
œ nœ œ œ nœ œnœ œ œ
œ œ nœ
16 C‹ B G7 C‹
b j Ó
& bœ ™
b ‰ j Œ Ó ‰ j Œ Ó
œ œ œ œ œ œ œ œ nœ œ œ nœ œ œ œ œ œ œ œ
21 G7 C‹
b
&b b ‰ j œ œ œ Œ Ó ‰ j Œ
œ œnœ œ
œ œ œ œ nœ œ œ nœ œ œ œ œ œ w
C C7(b9) F‹
j
26
b b˙ ˙ Œ ‰ bœ œ œ œ
&b b ‰ œœœ œ œ œ œ œ œ Œ ‰ œ œ œ

30 B¨7 E¨Œ„Š7 A¨7

b j
&b b œ œ œ œ œ œ œ œ œ œ œ™ œ™ j œ œœ œ ≈œœ œœœœ
œ œœ
D
33 G7 DØ7 G7(b9) C‹
bb
& b œ œ œ œ œ œ œ œœ œ Œ Ó ‰ j ‰ j ≈‰ Ó
œ œ œ œ œ œ œ œ™

™™ ü
37 DØ7 G7 C‹6
b
&b b ‰ j †
Ó ‰ j œ Ó ∑
œ œ
œ œœœœœœ œœœ œ nœ œ œœ œ

© Open Studio 2018 DIANNE REEVES 91

NOTES

DIANNE REEVES 92
13
Masterclass

In this special episode, Dianne Reeves mentors upcoming jazz singer, Malena
Smith. She teaches her how to find herself in the songs she sings, and how to
orchestrate her sets to allow for her originality to come out. Dianne helps her
express the true meaning of the jazz standard, “Teach Me Tonight.”

SUB-CHAPTERS

0:14 “Teach Me Tonight” (music by Gene De Paul and lyrics by Sammy Cahn)

“You want to evoke some sort of feeling so

that people can really feel, this is how you
will render your song or lyric based on your
unique sound.”

DIANNE REEVES 93
 13
Lyrics
Teach Me Tonight “What is it about this that makes
Did you say I’ve got a lot to learn? you want to sing this song?”
Well don’t think I’m trying not to learn
Since this is the perfect spot to learn
Teach me tonight
Starting with the ABC of it
Right down to the XYZ of it
Help me solve the mystery of it
Teach me tonight
PRO-TIP!
The sky’s a blackboard high above you • When singing a jazz standard, it’s important
When a shooting star goes by
I’ll use that star to write I love you to think about what the song means to you.
A thousand times across the sky An exercise that you can practice is to say
the song lyrics out loud in a conversational
One thing is very clear, my love
manner, and even change some of the words
Should the teacher stand so near, my love
Graduation’s almost here my love to create a story that makes sense to you and
Teach me tonight. has meaning.

DIANNE REEVES 94
 FROM DIANNE REEVES "DEFINE YOUR VOICE"

TEACH ME TONIGHT Gene DePAUL

# 4 Œœ œ œ œ œ œ œ œ ˙ ™ œ œ œ œ œ œ œ œ œ ˙ ™ Œ nœ œ œ œ œ œ
A G^7 B€7 E7 A€7 D7 BØ7 E7(b9)

& 4
Did you say,"I've got a lot to learn?" Well, don't think I'm try - ing not to learn, Since this is the per fect

A€7 D7(“4) D7 B€7 E7 A€7 D7

# œ œ
6
˙™ œ ˙ œ w Œ œ œ œ œ œ œ
&
spot to learn, Teach me to - night. Start - ing with the "A, B,

nœ œ œ œ œ œ
A G^7 B€7 E7 A€7 D7 BØ7 E7(b9)
# œ œ ˙™
10
œ œ œ œ œ œ œ œ œ ˙™ Œ
&
C" of it, right down to eht "X, Y, Z" of it. Help me solve the mys ter -

A€7 D7(“4) D7 G
#
14
œ
& œ œ ˙™ ˙ œ w Œ œ œ #œ
y of it. Teach me to - night. The sky's a
B A€7 D7 B€7 E7 A€7 D7 G^7
# œ œ œ œ œ
18
œ™ œ œ ˙ œ ˙ œ œ œ œ
& œ œ J J
™

black - board high a - bove you. If a shoot - ing star goes by I'll use that

# #œ ™ œ œ™ œ œ ˙ œ œ œ œ œ™ œ œ œ œ œ œ œ œ
22 C©Ø7 F©7(b9) B€7 E7 A13 A€7 D7

& J œ J
J
star to write I love you a thou - sand times a - cross the sky. One thing is - n't ver - y
A
nœ œ œ œ œ œ
G^7 B€7 E7 A€7 D7 BØ7 E7(b9)
# œ œ ˙™
26

& œ œ œ œ œ œ œ œ œ ˙™ Œ
clear, my love: Should the teach - er stand so near, my love? Grad - u - a - tion's al - most

A€7 D7(“4) D7 G A€7 D7

# œ
30

& œ ˙™ œ ˙ œ Œ
w ˙™
here, my love. Teach me to - night.
DIANNE REEVES 95
© Open Studio 2018
NOTES

DIANNE REEVES 96
14
Discussion with a Protégé
Brian Owens interviews his past mentor, Dianne Reeves, and discusses how her
career impacted his life over the years. Dianne imparts more helpful tips for
aspiring singers.

SUB-CHAPTERS GOOGLE IT!

• “Nature Boy” - By Eden Ahbez
4:50 Inspirations, ‘Jazz Makes You Jump’ • Dianne Reeves - In the Moment: Live
(Wayne Shorter) in Concert (2000) / “Testify”

10:46 Being Prepared

“One of the things that I learned about this

beautiful music, jazz, and the experience of it
is that it is always a conversation.”
DIANNE REEVES 97
NOTES

DIANNE REEVES 98
15
Microphone Techniques
Dianne Reeves demonstrates what microphone techniques and strategies give
her the best results on stage. She gives tips for how to alter and manipulate your
sound depending on your mic and venue.

SUB-CHAPTERS

2:22 Choosing a Microphone “The mic becomes part of

4:37 Venues
who you are.”

PRO-TIP! NOTES
• Hold the microphone 2 inches from your mouth
to start then use the distance of the mic from
your mouth to change the intimacy or intensity
of your sound.
• Be sure to be comfortable whether you use a
mic-stand or not. If you choose to take the mic
off of the stand, be sure to move the stand so
that it doesn’t remain in front of you.
• Never try to project your voice over the mic. The
mic is there to help you project and not strain
your voice!

DIANNE’S MIC
• Neumann KMS 105

DIANNE REEVES 99
NOTES

DIANNE REEVES 100

16
Protecting Your Voice
In this lesson Dianne explains useful ways to preserve your singing voice
throughout the rigorous experience of touring.

PROTECTING YOUR VOICE ON TOUR CHECKLIST PROTECTING YOUR VOICE DAILY CHECKLIST

To not lose your voice as the amount of
performances increases, practice pacing
yourself and get used to a smaller set of
shows, before taking on a multi-show tour
in a short period of time.
Get at least 6-8 hours of sleep nightly.
Drink lots of water daily. Airplanes dry you
out, so be sure to drink lots of water if you’re
traveling by air to do a performance.

Pace yourself in how you structure your Eat at the right times throughout the day,
sets.
Don’t eat late at night, or you risk reflux
Decide how dynamically you need to which can damage your vocal chords.
perform at each show.
Limit your alcohol intake.
Ensure that your voice can last the entire
duration of the tour. Plan times to be silent and rest your voice.
Meditate.
Look for opportunities to give your
voice a break during rehearsals and
soundchecks.
DIANNE REEVES 101
NOTES

DIANNE REEVES 102

17
Reflections: Sarah, Carmen, Betty
and Beyond
Dianne reflects on the jazz singers and musicians that influenced her voice and
sound over the years. She discusses how aspects of numerous artists’ personality
and style impacted her and made her into who she is today.

DIANNE’S EXCLUSIVE LIST OF FAVORITE ALBUMS

SUB-CHAPTERS
• Sarah Vaughn with Clifford Brown
• Miles Davis - My Funny Valentine
0:31 Sarah Vaughan
• Carmen McRae - Can’t Hide Love
• Sarah Vaugham with Michel Legrand
2:26 Carmen McRae
• Billie Holiday - Songs for Distingué Lovers
• Betty Carter - Social Call
4:13 Betty Carter
• Ella Fitzgerald - Ella in Rome (live)
• Nina Simone - Nina Simone at Town Hall
6:18 Find Your Own Voice
• Dinah Washington - The Swingin’ Miss “D”
• Nancy Wilson - Lush Life
• John Coltrane - John Coltrane and Johnny Hartman

“Most of my teachers were great records, I also had

the great fortune of growing up at a time when a lot
of my vocal heroes were still walking this earth.”

DIANNE REEVES 103

 17
HIGHLIGHTED ARTISTS
SARAH VAUGHAN

Sarah Vaughan (1924-1990) was a decorated American jazz singer,

with four Grammy awards and a “Lifetime Achievement Award”. The
National Endowment for the Arts bestowed upon her its highest honor
in jazz, the NEA Jazz Masters Award, in 1989. Dianne says, “the thing
that I loved about her is that she could sing a note and change the
timbre and the tone of the note within the same holding of the note. It
was just unbelievable! Every note was on point. She helped me to be
able to hear sound like color.”

CHECK OUT: Sarah Vaugham with Michel Legrand (1972)

CARMEN MCRAE

Carmen McRae (1922-1994) was an American jazz singer, inspired

by Billie Holiday. She’s known for her dramatic and nuanced, ironic
interpretations of jazz standards, and her behind-the-beat phrasing.
Dianne says, “she would enunciate and her diction was perfect but she
was very musical and would take all kinds of different chances on the
songs.”

CHECK OUT: Can’t Hide Love (1976), “All By Myself”

BETTY CARTER

Betty Carter (1929-1998) was a distinctive American jazz singer best

known for her improvisation and swooping scat that demonstrated
her vocal talent and imaginative interpretation of lyrics and melodies.
Dianne recalls, “when I went to hear her, it was kind of like a religious
experience. She was the first singer that I ever say stand in the middle
of a band and really be the co-creator of a band. She stood in her
bands because they were not backup bands, they were moving with
her and shifting with her.”

CHECK OUT: The Audience with Betty Carter (1980)

DIANNE REEVES 104

NOTES

DIANNE REEVES 105

 18
Finale
“I hope that this has been an inspirational journey. It certainly has been for me. I
hope there’s some tools and some things that will help you on your way to build
a very, very, very solid foundation and career. If you have any questions please
contact me on the video Q and A, and while I’m out on the road I’d be very happy
to answer your questions. And listen to some of my selections, I think you’ll find
them very interesting.
Thank you so much for being with me here at Open Studio.”

CONGRATULATIONS!
You did it! With these tools and a regular practice routine you should be well on your way to becoming
a vocalist that can hold their own on the stage. Keep up with Dianne Reeves on her website -
diannereeves.com

Join the conversation on the Hang! openstudionetwork.com/community

If you have any musical questions about the Dianne Reeves course, please don’t hesitate to reach out
to our Creative Content Manager, Adam Maness at adam@openstudionetwork.com.

For technical questions, contact support@openstudionetwork.com.

Happy Practicing!
THANK YOU
We hope you enjoyed these tunes! If you have any
suggestions for how we could improve this course
or workbook in the future let us know.

DIANNE REEVES 106

 COURSE CATALOGUE

BASS PIANO

Fundamentals of Jazz Bass and Beyond Keez to Jazz Piano

Jazz Piano for Beginners

Elements of Jazz Piano
The Jazz Piano Method
DRUMS

Finding Your Beat

GUITAR
Hutchology
Great Guitar Covers
Fundamentals of Jazz Drumming
Jazz Guitar Foundations

Lubambo Method
Brazilian Jazz Guitar
Brazilian Jazz Guitar (em Português)
TRUMPET

Jazz Trumpet Fundamentals Vol. 1

Jazz Trumpet Fundamentals Vol. 2

VOCALS

Define Your Voice

MULTI-INSTRUMENT

Improvisation for All

SAXOPHONE

Rhythm Section Fundamentals Fundamentals of Jazz Saxophone

DIANNE REEVES 107