Oh Chanukah: Auxiliary Percussion

This chart proves that accessibility and personality aren't mutually exclusive. The Bo Diddley groove gives the traditional melody an infectious forward motion that students actually want to play, while the flexible solo assignments let you adapt to your ensemble's strengths without rewriting anything.

Irresistible and celebratory, with a street-level swagger that comes from the Bo Diddley beat. The melody sits comfortably over that foundational groove, making the whole chart feel both modern and warmly familiar.

First-year jazz ensembles and young bands discovering groove-based playing for the first time. The limited trumpet range and optional doublings make it genuinely inclusive for mixed-ability sections without sacrificing the fun.

• Lock the Bo Diddley rhythm in the rhythm section first. Once that groove sits solid, the horns will find their pocket naturally.
• Rotate through the cued solo parts in rehearsal. Since each is written for a primary player with cues for others, you'll discover who connects with the melody and who thrives with the flexibility.
• Keep the articulation crisp but not stiff. This groove lives in the pocket, not in precision for its own sake.
• Let the tune breathe at 2:45. Resist the urge to rush; the Bo Diddley beat actually gains momentum from restraint.

Reserve this for the winter concert as either a bright opening number or a joyful closer. It works especially well in mixed programming where you want to show your jazz band's stylistic range without demanding a lot of rehearsal time from other ensembles sharing that concert.

• Playing over a consistent 12-bar blues-derived groove
• Trading solo passages between written and cued parts
• Balancing rhythmic precision with swing feel
• Managing flexibility in instrumental doubling and ranges
• Responding to a driving rhythm section while maintaining ensemble cohesion