I Can't Stand Still Under Those Raindrops

Get out your dancing shoes for this song! From the first punchy notes of the low brass and bass to the "bring it on home!" section at the end of the song, this lively dance feature will inspire your kids to get up and keep moving.

More than just a vehicle for movement, this song is also a drum feature, which means your students will be able to focus on the drums in a related study, if you so desire.

In the middle of the song, at measure 47, the vocal line begins a call and response with the drums. Starting with a dynamic marking of piano, the lyrics imitate sounds of the drums, cymbals, and/or rain. As more, larger, and noisier parts of the drum set respond to each call, the volume increases, allowing you the opportunity to explore the differences in each dynamic level, as well as make comparisons to the types of sound. For example, the rim taps on the drums echo the scat syllables "tik tik tikka tik tikka ta kik." These same sounds could be defined as the sound of rain hitting something. Ask your students what sort of surface might produce a sound like that when hit by raindrops.

If you receive the Performance/Accompaniment Cassette, you will appreciate the big band jazz accompaniment for this song. As always, we use real trumpets, trombones, saxes, horns and a rhythm section to create an authentic big band sound. We've cued many of the wind instrument entrances (as well as some of the drum lines) for your reference. If you are going to play this song on the piano only, it would be difficult, if not impossible, to imitate the wind lines accurately, since pianos can't articulate like wind instruments can. In that event, you would be better off just playing the left hand part with melody or comping in the right hand, as indicated on the piano/vocal score. The left hand is often written in octaves, but you will find that you have more control over the articulations, such as the short quarter note on beat 2 of measure 1, if you only play the lower octave. It's also easier to swing. Of course, we would much rather you use the P/A cassette for the full and true impact of the arrangement, but we have tried to make the piano part usable instead if necessary. Just remember to keep it energetic!

Another possibility for performing this song without the P/A cassette is to employ your own rhythm section. The piano/vocal is a good "lead sheet" for a competent rhythm section that includes piano, guitar, bass and drums. You could even add congas, as we did, for that extra touch.

The P/A cassette also provides an excellent resource for teaching the tunes to your students. In fact, it will serve as a good model for you as well. The piano comping, for instance, is a wonderful example of how a jazz pianist comps to chord changes in a jazz tune. Our pianist provides us with a variety of ideas, played improvisationally, which is the basis for comping, though he never upstages the melody, winds, or other players.

When teaching the scat syllables during the call and response section to your students, the cassette is a good point of departure. Kids being kids, once they hear something, they are likely to be able to imitate it, especially if they hear it repeatedly. However, you might find that you get the quickest results by teaching the scat syllables by rote, for the most part.

Begin by learning the parts yourself. Once you are comfortable with them, you can say them to your students. Start slowly. Have them repeat each one slowly. (Only work on one at a time.) Once they have the syllables and rhythms, add the notes. Again, sing it for them, then have them imitate you. Work your way up to the correct tempo with each phrase before going on to the next one. Relax when saying the syllables; don't make your mouth work too hard to enunciate. It should feel comfortable, even a little lazy, as the singers on the cassette demonstrate. You should be able to conquer each phrase in a few repetitions of each, depending on your prior grasp of them and your students' grade level. (Expect younger students to take a little longer - but be patient! We've heard very young children sing intricate rhythms back to us just from hearing them on the radio over and over.)

Of course, the real thrust of this tune is the inspiration for movement! Since it is in the style of a 30's or 40's big band, dance steps appropriate to that era would be wonderful. But there are certainly no rules! Your own choreographers might have some creative ideas that would work equally well. In fact, if you have students who are in a class that teaches dance, ballet or tap, ask them and/or their teacher for some ideas in incorporating simple movement for the whole class to join in the fun. Or, if you are using the song for performance, consider featuring a few solo dancers. You don't have to spotlight them the entire time, though you certainly could. Be flexible and ask your students for input.

One more thing: since the song begins with a dynamic level of forte, you should encourage your students to sing in their chest voices for the best results. It's a little tough to sing low and energetically in a head voice. Besides, it just sounds better in this tune. They will have to cross over during the higher sections, such as "Ooh!" each time it occurs. But with a little work, the transition can become smooth and you can even teach them to crescendo into it.