It's My Journey!

What an exciting way to end your revue! If you've been letting individual classes sing or perform the sequences up to now, this is the time to pull them all together for the big finish.

You know the old expression, "timing is everything?" Well, this is one time it just might be. We suggest that you segue as closely as you possibly can from the end of the last sequence into this one. The timing on the P/A recording (full performance version) is very close to what we feel is optimal. The haunting piano should still be echoing in the audience's heads when that same piano surges forth with a newfound enthusiasm.

The beginning of the song is deliberately unison, which will allow for building later. Let everyone sing, or just assign the first two verses to part one singers. Emphasize separation and accenting with their diaphragms again to get an energized sound (like the singers on the recording). The message is exciting and the melody is downright memorable, so you shouldn't have any difficulty getting the level of enthusiasm you want.

The first time through, the first two verses are sung in unison. The section at measure 21 is still unison the first time as well. It isn't until the chorus at measure 29 that we hear divisi parts (which are optional). On the D.S., verses 3 and 4 are sung. This time, however, the bottom note of part one is added. It continues through the section at measure 21 as well. If you are using the lower, changing or changed voices for part two, you could add them at measure 21, instead of waiting for measure 29 each time, depending on your singers' abilities.

The three-way divisi at the chorus occurs every time the chorus is sung (measure 29 both times, and measure 43). If you only use one part, use the top line of part one. If you use two parts, you can use the top line plus either of the other two. Naturally, we recommend using all three for the best results. Part two is right in the range of comfort for those lower voices, whether they are young men or ladies. (We must admit, we did cheat a little on the P/A recording. We had several guys with lower voices - some of whom were going through "the change" right before our ears. But we chose to add some more "mature" texture to it by drafting some older kids. Okay. Lots older. John Riggio and David Ellsworth can be vaguely heard in the background standing far away from the microphones. You might have to listen carefully, but we sure had fun embarrassing, er... including them in the singing for a change!)

At measure 54, the chorus breaks into "ah's" while the alto saxophone wails an improvised solo (on the recording, or live if you have an inspired player!). Even when the pitch is constant, be sure to have your singers push the rhythms with their diaphragms so that it isn't too smooth. If you want, you could add an "h" for added emphasis so that they are singing "Ah - hah - hah!"

At the end of the song (and just before the D.S.), you and your students may notice a bit of dissonance between their notes and the accompaniment. This is a deliberate tension which will work best if the sung pitches are carefully maintained. Make sure your singers focus on the pitch that is coming out of their mouths rather than the moving lines behind them.