Live Well!

This very lively and happy finale brings it all together. Energy is the word that comes to mind when listening to the recording of this one. Deliberately set in a very contemporary style with LOTS of guitars, this tune will appeal to most of your students right away. Our singers in the studio really enjoyed it, too. Always a good sign. (By the way, all those great guitars are played by our one and only awesome guitarist, Sandy Williams.)

Right off the top, you will want to let your students clap along with the rhythms indicated on the music. These are optional, but they add a lot to the momentum of the tune, so we really think you should add them if you can. They come and go, depending on the section. All stops and starts are marked on the music. One option you may want to employ is the addition of claps with the yells on beats 2 and 3 of the last bar. Or stop clapping a bar before the last one and have students thrust their hands or fists up into the air to punctuate the ending.

This song should be sung with zest and enthusiasm. A little bit of sass or nasal quality would be okay, too. Our singers seemed to want to do this naturally, so we let them. It feels more pop-like that way, especially when they get to the "na na's" at the end of the song (everyone's favorite part).

There is an optional second part which begins at measure 23 in the coda. It is doubled in one of the many guitars on the recording. That way, if you don't use it, it's covered anyway.

At measure 29, it's probably not possible for singers to make it all the way to the rest in measure 37 without taking a breath. Just have them stagger their breathing so that no breath is actually heard in the phrase. It needs to connect, especially at the pick-ups to measure 33. (Don't let anyone breathe at that point for the best effect.)

This song inspires action or movement of some type. The claps certainly contribute to its energy, but you could add more activity if you like. Just letting kids rock and sway to the beat would be okay. Or you can get more carried away with actual designed movements. Here's one suggestion: Have students strike a pose on beat 1 of measures 10, 11, 12, and the first and second endings each time they occur. For example:

• m. 10 - hands on hips
• m. 11 - R index finger up, L hand still on hip
• m. 12 - both hands out, palms up
• m. 13 (& 14) - thumbs point to self

Then at measure 16, have them start rocking L to R on beats 1 and 3. Back to the D.C., and they're clapping again. Voila! Instant movement.

One notable musical thing about this song that you may wish to discuss with your students is the complete change of key center. Not your usual modulation or simple shift from major to minor - this one goes from the key of D to the key of F. Fortunately, this shift feels quite natural and should not present a problem for your singers. Just have them sing along with the recording and they'll catch on in no time.