Description
Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Sing, Sing, Sing (featuring Solo Tom-Tom): Concert Band Conductor Score & Parts comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.
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About the Composer: Louis Prima
Louis Prima (1910-1978) was an Italian-American trumpeter, singer, and bandleader who became one of the most exuberant personalities in jazz and swing music. His infectious energy, powerful voice, and gift for showmanship made him a recording star and nightclub draw from the 1930s through the 1970s. Prima's catalog includes some of the most recognizable standards of the swing era, and his arrangements and compositions remain staples of big band and concert band repertoires.
Prima's work bridges popular song and jazz idiom with remarkable accessibility. His compositions were written to entertain and to move people, which is precisely why they remain so effective in educational settings. Teachers and directors return to his music again and again because audiences respond to it instantly.
Why we love this
This arrangement captures everything that makes swing feel alive: the propulsive rhythm, the bright brass shouts, and the chance for one soloist to shine. At Grade 2, it's playable by developing bands without sacrificing the infectious energy that makes the original work. Programs need moments that connect with audiences instantly, and this one delivers without question.
What to expect
Bright, propulsive, and utterly confident. The opening grabs attention immediately with its rhythmic drive and brass energy, and the tom-tom solo adds a playful spotlight moment that audiences love. The whole thing has the feel of a seasoned ensemble that knows exactly what it's doing and is having fun doing it.
Who it's for
Concert bands in grades 2-3 looking for a piece that combines solid musicality with genuine crowd appeal. This works equally well for school concerts, community bands, and festival contexts where the goal is musical satisfaction alongside audience connection.
How to get the most out of it
- Balance the tom-tom solo so it sits in the mix clearly but doesn't overwhelm the ensemble; the featured percussion part should feel like a conversation with the band, not a spotlight grab.
- Keep the swing feel relaxed and grooving rather than mechanical; younger players often rush swing rhythms, so conduct with a floating pulse and encourage the rhythm section to breathe.
- Shape the brass punctuations as clean accents with good release; these stabs define the character of the tune, so articulation and ensemble precision matter more than volume.
- Take the stated tempo as a starting point and adjust based on your band's comfort with the swing feel; a slightly easier tempo often produces better articulation and ensemble clarity than a fast one.
How to use it
Place this mid-program when you need to reset the room's energy or as a concert closer that leaves the audience smiling. It pairs well with other standards and jazz-inflected pieces, and works particularly effectively when you're programming a concert around swing or American songbook themes.
Skills your students will build
- Swing articulation and phrasing in a jazz idiom
- Ensemble balance with exposed solos
- Reading and executing rhythmic punctuations in brass
- Maintaining groove and relaxed pulse in fast tempos
- Dynamic control across full ensemble textures