Born To Hand Jive (from Grease) (arr. Kirby Shaw): TBB Choral Octavo
Born To Hand Jive (from Grease) (arr. Kirby Shaw) Sheet Music Preview

Born To Hand Jive (from Grease) (arr. Kirby Shaw): TBB Choral Octavo

Arranged by Kirby Shaw

Item: 35-DS01166973
Digital Download
$2.99
Description

Born To Hand Jive (from Grease) (arr. Kirby Shaw): TBB Choral Octavo isn't in MakeMusic Cloud just yet...but it could be. Let us know you'd like to see it, and you'll help shape what comes next. In the meantime, start a free trial and dive into thousands of interactive titles your students can play along with today.

Request This Title

Tell us you want it.

Start Your Free Trial

Explore everything that's ready to play right now.
Sample Audio
No sample audio found.
Sample Video
No sample videos found.
Additional Details
Publisher: Hal Leonard
Page Count: 10
SKU: 35-DS01166973

More about this title

About the Arranger: Kirby Shaw

Kirby Shaw

Kirby Shaw holds degrees in Music Education and Choral Composition from San Jose State University and a DMA in Choral Conducting from the University of Washington. His career spans decades of teaching in public schools and directing award-winning vocal jazz ensembles at College of the Siskiyous, Colorado State University, University of Missouri at Kansas City, and Southern Oregon University. Shaw has worked one-on-one with vocal legends including Bobby McFerrin, Al Jarreau, and Jon Hendricks, bringing that same infectious energy and musical depth to his teaching and arranging.

With over 2500 choral arrangements in print and nearly 20 million copies sold worldwide, Shaw has established himself as one of the most prolific voices in choral music education. His work has earned multiple ASCAP awards and commissions from prestigious institutions like the Mormon Tabernacle Choir. He continues to compose, arrange, and teach while living in Southern Oregon with his wife Markita, with whom he co-wrote the musical Scroogical.

Why we love this

Shaw captures the infectious energy of this 1950s novelty number without losing the essential fun and accessibility that makes it work for teenage singers. The TBB voicing opens this classic to male and mixed choirs who might otherwise pass on Broadway material, and Shaw's arrangement respects the driving rhythmic spirit of the original while offering rewarding vocal parts that sit comfortably for changing voices.

What to expect

Pure propulsive fun with a rhythmic swagger that never feels forced. The arrangement channels the playful confidence of 1950s rock and roll, built on hand claps, vocal percussion, and melody lines that beg to be sung with infectious energy and just the right amount of attitude.

Who it's for

Mixed and all-male choirs looking to program a high-energy crowd pleaser with solid vocal writing and authentic period style. This works equally well for teenage singers in high school choirs and college groups seeking accessible Broadway material with real musical substance.

How to get the most out of it

  • Anchor the groove with a steady, infectious rhythm section from your bass and percussion. This piece lives in the pocket; lock in early and the melody singers will follow.
  • Balance the hand jive spoken portions carefully so they land as intentional vocal percussion, not as an afterthought. Let singers own those rhythmic moments with confidence.
  • Shape the melodic lines with clear phrase direction rather than singing it straight. Infuse the legit Broadway style with the swagger of its 1950s doo-wop roots.
  • Record a rehearsal at full tempo once the piece is learned. Hearing themselves groove at performance speed often unlocks the relaxed confidence this arrangement demands.

How to use it

Pair this with other upbeat Broadway or pop standards in a concert that celebrates theatrical energy and audience connection. It works beautifully as a second-half opener following something more introspective, or as a finale that leaves audiences smiling and wanting more.

Skills your students will build

  • Rhythmic precision and groove orientation in popular music styles
  • Spoken word rhythmic integration and diction clarity
  • Stylistic interpretation of 1950s rock and roll idioms
  • Ensemble cohesion and blend within a pop/rock texture
  • Confidence and personality in performance delivery

You May Also Like