Sing, Sing, Sing (arr. Deke Sharon): SATB Choral Octavo
By Louis Prima / Arranged by Deke Sharon
Item: 35-DS00132641
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$2.99
Minimum order quantity: 10 copies
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Description
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Louis Prima (1910-1978) was an Italian-American virtuoso trumpeter, singer, and bandleader whose exuberant style bridged jazz, swing, and popular music. His infectious energy and showmanship made him a fixture of the big band era, and his arrangements and compositions became standards of American popular song. In the classroom, Prima's work offers students a direct line to mid-century jazz vocabulary and the rhythmic vitality that defined swing music.
Prima's legacy for music educators lies in his ability to write melodies that sit comfortably in the voice while maintaining genuine jazz sophistication. His compositions reward singers who understand swing style, jazz phrasing, and the interplay between precision and groove.
Why we love this
Deke Sharon's arrangement captures the propulsive joy of the original while making it accessible for SATB singers without diminishing the jazz vernacular. The orchestration stays transparent enough that each voice part contributes meaningfully to the harmonic and rhythmic drive, which means your singers engage with real ensemble listening rather than simply layering blocks of sound.
What to expect
Pure momentum. The arrangement bounces with the unmistakable buoyancy of swing era composition, full of call-and-response moments and rhythmic surprises that make singers feel the architecture of the song rather than simply executing notes. There's warmth in the close voicing, but also room for individual voices to shine through.
Who it's for
This arrangement suits choirs comfortable with jazz idioms and syncopated rhythmic figures. It works equally well for ensembles building swing vocabulary or for programs needing an energetic opener with genuine musical substance.
How to get the most out of it
Establish the swing feel in rehearsal by having singers tap the backbeat while listening to a recording. This embedded pulse becomes the foundation for all the syncopation.
Balance the parts by doubling the bass line in your altos and tenors during the first chorus; this locks the harmonic foundation before adding independence in later sections.
Cue the sopranos' rhythmic entrances with a slight breath lift from the full ensemble. The staggered phrasing that creates momentum requires visual coordination.
Record a rehearsal playback and let singers hear how close harmony sits in the arrangement. They'll adjust intonation instinctively when they hear the resonance they're creating.
How to use it
Open a spring concert with this. Its brightness and propulsive rhythm refresh an audience immediately, and it pairs logically with either contemporary a cappella repertoire or other mid-century standards, giving you flexibility in programming alongside your concert arc.
Skills your students will build
Swing phrasing and jazz articulation
Syncopation and backbeat awareness
Reading close harmony and jazz voicings
Coordinating complex rhythmic entrances across four parts
Listening for harmonic blend within a tight texture
Understanding call-and-response as structural device
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