I Can. You Can. We Can.

Armed with knowledge, strength and a positive attitude, your students will be ready to sing this fun conclusion of the revue. Set in a funk rock style, it is unison and should be pretty easy to learn. The range is set low to allow belting in chest voices and there are quite a few vocal scoops indicated on the music. You don't need to feel compelled to follow each one exactly, though we found that they were the most natural for our singers in the recording session. The style is very casual and comfortable in a punchy sort of way and the scoops help achieve this. Let your students listen to the singers on the cassette for reference of style. They will sing along quickly.

This is another case where using the cassette is critical unless you've got a rock band complete with winds ready to blow. There is, of course, a real live rhythm section including a drummer, a bass player, a pianist, and a guitar player who lays down some truly funky ad libs over the verses. (Just zeroing in on the guitar once in a listening session is worth the time.) There are also multiple layers of various auxiliary percussion instruments playing at different times. The final time through the chorus is particularly busy, including shakers, cowbells, several types of woodblocks and congas. See if your students can pick them out and identify them.

The real stars of the song, however, are the wind players. Three trumpets, three horns, four trombones, alto sax and bari sax make up the ensemble. Just about everything they play is unison in octaves and sixteenth note based. It is very tight and clean. They get to shine out front during the dance break at measure 34. The melody line is cued on the piano/vocal score, but you will hear a few tightly voiced chords that are not indicated. This is another section worth just listening to a few times. You may also want to point out to your students that the first trumpet goes up yet another octave at the end of the song - not that they won't be able to hear it easily without you telling them. It's very impressive.

Don't forget that the wind ensemble soli is also a good opportunity to show off those little dancers again. As always, the best choreographers are your students. They know the moves and will be honored that you have asked for their advice and input. Select a small group of dancers, have everyone do simple moves, or highlight a soloist or two. Whatever works is okay. You could even have some students mimic the wind players with fake (or real!) instruments.

Don't let the sixteenth note figure for singers at the chorus intimidate you. Since the tune is in a slow 4/4, it is very easy to sing and articulate. The piece is more of a halftime rock feel, so the sixteenth notes are no big deal. But don't tell your kids that! In fact, they should be proud of themselves for singing sixteenth note figures, especially your younger students. And, by all means take advantage of a great opportunity to discuss sixteenth notes in your music lessons. The application of the concept will prove to be a good reinforcement.

The final "We can!" is not sung, but rather shouted out. If the word "yell" presents any problems for anyone, we apologize. (Kids can be enthusiastic, can't they?) But in this case, it's justified. The message is positive. Let them speak with exuberance.