Jump: 3-Part Mixed Choral Octavo
As performed by the Cast of Glee
By Edward Van Halen, Alex Van Halen, Michael Anthony, and David Lee Roth / arr. Andy Beck
Item: 00-PO-0008037
Minimum order quantity: 20 copies
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Description
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More about this title
About the Composer: Edward Van Halen
Edward Van Halen redefined electric guitar playing in the 1970s and 1980s, introducing techniques like two-handed tapping that became foundational to rock music. His work with Van Halen produced some of the era's most recognizable songs, and "Jump" stands as a cultural touchstone that introduced millions to the band's signature blend of virtuosity and accessibility.
For music educators, Van Halen's catalog offers something rare: technically sophisticated rock writing that still appeals to young singers. The melodies and rhythmic structures in his compositions reward careful arrangement and expose students to the harmonic language of arena rock.
Why we love this
Andy Beck's arrangement strips away nothing essential from the original while building in the exact kind of energy that makes teenagers actually want to sing together. The rhythmic precision required from the full choir backdrop, combined with the flexibility of featured soloists, creates a genuine performance moment rather than just another pop novelty.
What to expect
Pure adrenaline. The piece radiates the unforced confidence of a song that became famous because it's genuinely fun to perform and hear. Singers feel the drive of the rhythm, experience the satisfaction of locking in as a group, and tap into the specific kind of swagger that only works when everyone commits fully.
Who it's for
Choirs looking to energize concert programming with legitimate '80s rock that doesn't insult the audience's intelligence. This works for middle school through high school, particularly programs that program across multiple genres or want to bridge classical and contemporary.
How to get the most out of it
- Keep the rhythm section (your back-up singers) locked in tight on the syncopated rhythms; they're not accompaniment but the engine driving the whole arrangement forward.
- Work the featured small group soloists to match the confidence of the original recording. Their command of the melody directly shapes how convincing the whole group sounds.
- If you use the "Mercedes" descant, rehearse it as a separate layer first, then layer it in gradually so singers understand exactly where their line sits vertically.
- The recorded accompaniment gives your group a reference point for the synthesizer textures and drums, but record a rehearsal piano/keyboard track earlier so singers internalize the harmonic support without competing electronically.
How to use it
Drop this into a concert that mixes eras and styles, or build an entire program around '80s and '90s pop rock reimagined for choir. It works especially well as a high-energy closer before an encore or as a palate cleanser between classical works. Time it for late in the rehearsal year once your ensemble has the rhythmic precision to handle it.
Skills your students will build
- Precision in syncopated rhythmic patterns, particularly in ensemble singing
- Coordinate of three independent vocal lines while maintaining rhythmic cohesion
- Confidence in featured soloist roles and risk-taking as performers
- Style and articulation specific to contemporary rock music
- Reading and interpreting optional descants and dynamic layering