Put Your Hand On Your Heart

We would not be stretching the truth if we told you that this was one of our most favorite tunes ever. (And that's saying something!) It isn't just Teresa's song and John's cool jazz fusion arrangement that make it so special, though surely that combination is magic. It is also the effort of many others that has brought this tune to the point of excellence it has achieved. Just the incredible piano work you hear on the recording is a marriage of talent between John and Paul. Can't tell, can you? Some of the piano fills were not meant to be actually played by a mere human being having been originally written with the help of a sequencer. But we wanted to use a real grand piano, so by golly, we made it happen.

Truly, there was a lot that went into this tune. Our rhythm section really outdid themselves, as you can hear. Also, we wanted to employ tasteful fills throughout the piece as the vocal lines sustained, so we asked Sandy to play some fills on guitar. Then we asked the same of Jim Farrelly on alto sax and Paul on piano. It took us hours to decide which fills to use at which points in the song because they were all so good. (That's the kind of problem we like to have!) Our point in telling you all this is that we hope you take the time to really listen to the music on the recording, and hopefully even the instrumental tracks. There are a lot of decent, musical moments and we think you will appreciate them.

The song itself is patriotic to the point of inspirational, we hope. We know a lot of Americans who have been feeling particularly sentimental about our country lately. The American flag represents our home and our way of life. It represents our freedom and the sacrifice of so many to keep that freedom. This song reminds us all to look at our flag with reverence and appreciation for all that we have.

You will note that we open the song with a solo (performed by Katy Hoyt on the CD). This is optional, of course. Though Katy's style is mature and pop-like, your soloist can perform it in any way she likes. In fact, a youthful, innocent sound might be quite effective. Ours is just an example of one style.

The melody is unison for the most part, and may be somewhat challenging due to the ongoing syncopation. Despite this, the syncopation is repetitious and the phrases are similar. Letting students listen and sing along with the recording will help them master the rhythms quickly.

The second time at measure 61, an optional second part enters. It is not necessary for a successful performance, but it adds a nice depth to the tune if you can manage it. Consider adding older students at this point to help out. At the key change, the tune goes back into unison for a while, then breaks into parts again for the big ending. The divisis at measure 107 are definitely optional, and some of the notes are indeed challenging. Even some of our studio singers had to really concentrate to find their pitches in the midst of the action! Your older singers may find this quite enjoyable. If they can pull it off, it will sound very cool.

Obvious staging of this tune would include at least one big flag. Or lots and lots of little ones. Include a processional of them, devise a color guard routine for them, or use them theatrically. For example, have students all hold small flags throughout the early parts of the song. When it gets to the mounting chords at the end, bring out one really huge flag. Throw some spotlights on it and/or play your PowerPoint® presentation of fireworks behind it. Maybe toss some red, white, and blue confetti into the air. Do something big and showy to bring it on home!