Big Band!

This is the third year in a row that we have published an issue that focused on some jazz. The first two times we did this, we brought you such things as "Dancin' On The Rooftop," and "Wadda Wadda Wadda." Little did we realize how very popular these tunes would become. It seems that kids love the up-tempo jazz pieces. So, this year we thought we would do it again, only this time, we would make a big deal of the big band aspect of the tune - hence, the title, "Big Band!" As before, the most important thing you can do to properly feature this tune is play the Performance/Accompaniment Cassette for your students. We have taken great pains to bring you an authentic, living, breathing jazz ensemble to aid you in your studies. Of course, your kids will want to learn the words immediately (which are unison and very simple), and will no doubt want to dance and move as well. That's great. That's what they should do. However, you might also want them to just listen to the instrumental version of the song on side 2 of the cassette. That way they will be able to pick out the various instruments and really hear the arrangement behind the melody line. (It's kind of tough to focus on backgrounds when you're belting out a tune.)

The melody of the tune is quite simple, and your students will be able to pick it up very quickly. Even your younger students may be able to get into the swing of things, so to speak, with just a listening or two to the cassette.

One thing to note is that the "answers" at measure 19 are sung the second time only. The first time through, your singers should pantomime listening to each section of instruments by putting their hands to their ears, as indicated on the music. The nonsense syllables on the repeat may seem a little difficult for some grade levels, and can be omitted. However, they are designed to be sung easily and are actually not too tough to learn. You may also wish to point out to your students that each group of nonsense syllables is somewhat characteristic of the instruments they are representing. Saxes can definitely sound like "doobie doobie," while trombones are famous for their scoops and glisses up and down, like "dwa da." (Be sure your singers exaggerate the scoops!) And, of course, the trumpets are easily imitated with the syllables, "ya ba da ba da," especially when swinging the eighth notes.

The remaining section of the big band is covered with "the rhythm keeps the beat a-flowin'..." Discuss the concept of a rhythm section with your students. When big bands refer to "the rhythm" they are usually speaking in the vernacular of the rhythm section. To emphasis the section's contribution to the big band, the students get to help the beat along by stomping rhythmically as indicated on the music.

Our favorite part of this tune is the ensemble soli, which occurs during the dance break. You'd never know it to listen to the cassette, but the key is actually pretty rough for the instrumentalists (B for trumpets and tenor sax, F# for alto and bari sax!). Our fine group of musicians nailed it nonetheless, though admittedly not without a little rehearsal. It might be of interest to your students to know this. Even professional musicians have to work hard sometimes to play well.

Despite the fact that you will be hard pressed to keep your students still while listening only to the movement and dance break, you should attempt to point out a few nuances to them. For example, the form of the soli is similar to the form beginning at measure 9. (Can they tell what the difference is?) When the section at 59 reiterates the part at measure 19, the focus is very clearly on each wind section as before: first the saxes, then the trombones, then the trumpets. This time, however, the "riffs" are different. After this section, you will also hear a "cascade" and a "pyramid," both of which are indicated on the music. You may well ask your older students what these elements of arranging might indicate. Listen to these spots on the tape a couple of times for clues.

Once the tune goes to the coda, it takes on a real "bring it on home" feeling, which shouldn't let up till the end. The vocal slide into measure 97 is particularly important to emphasize in order to keep it moving forward properly. Again, listen to the singers on the cassette for style. They should feel free to belt...yes, even at the risk of singing a little out of tune. (This is no time to quibble about pitch! You can worry about that later. Don't stifle their excitement.) Do make sure, however, that they hold the "around's" for their full values. The "yeah!" at the end is a loud whisper, which would be greatly punctuated by an abrupt lack of movement and a hand thrust outward, palm up.

There are a myriad of other movement possibilities for this piece as well. In general, movement during the verses should be limited to bouncing or swaying in place to the beat - except for the gesture mentioned earlier. The moment to really shine with movement will come during the dance/movement break at measure 51.

As always, the best way to design choreography (unless you are a dancer or you know one who is willing to come in and help), is to go right to your students for help. In this case, there probably aren't a whole lot of kids who are familiar with the dance styles of the thirties, forties, or even fifties when used with big band music. If you are a purist and would like to use authentic moves, consider renting and watching a video or two that might incorporate these types of moves so that you can imitate them. If you're more flexible, you could just let your students think up their own modern movements to coincide with the style of the music. Or, you could have them ask older family members for suggestions.