Struttin' with Some Barbecue Sheet Music Preview

Struttin' with Some Barbecue: Jazz Ensemble Conductor Score & Parts

By Don Raye / By Lillian Hardin Armstrong / As performed by Louis Armstrong / Arranged by Rick Stitzel

Grade: 2

Item: 35-PK00427006

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Struttin' With Some Barbecue

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Additional Details
Publisher: Hal Leonard
SKU: 35-PK00427006

More about this title

About the Composer: Don Raye

Don Raye was a prolific songwriter and composer working in the jazz and popular music sphere during the mid-twentieth century. His collaborations with bandleaders and vocalists of the swing era produced numerous standards that remain teaching repertoire today, particularly pieces that bridge jazz idiom with accessible melodic writing.

Why we love this

Rick Stitzel's arrangement captures the infectious swagger of the original without demanding virtuosity beyond Grade 2 capabilities. Students get to play authentic jazz phrasing and articulation while the material stays rhythmically and harmonically manageable, making this ideal for early exposure to ensemble swing.

What to expect

A jaunty, good-humored piece that captures the loose joy of early swing. The melody bounces along with an easy confidence, supported by the kind of groove that makes rhythm sections sound tight and lets horns settle into the pocket naturally.

Who it's for

Second-year jazz ensemble students and developing big band programs looking for repertoire that builds swing fundamentals without technical barriers. Teachers introducing students to jazz language and classic jazz standards.

How to get the most out of it

  • Treat the swing eighth notes as a feel rather than a mechanical subdivision. Have your players listen to Louis Armstrong recordings first so they hear the air in the phrase.
  • Balance the lead voice against the ensemble hits. Those punctuations need space to land, so brief comping underneath keeps the groove light.
  • Lock the rhythm section early. The drums and bass establish the pocket, giving horns permission to play slightly ahead or behind the beat for character.
  • Shape the melody line with dynamic peaks. Avoid playing straight through; let it breathe and build into the ensemble sections.

How to use it

Pair this with other Raye or Armstrong arrangements for a concert celebrating swing-era standards, or use it mid-year when students have developed enough ensemble awareness to handle the rhythmic nuance. The approachability makes it a solid opener for jazz festival appearances.

Skills your students will build

  • Swing eighths and jazz articulation (light, bouncy tongue attack)
  • Reading and executing ensemble hits and section accents
  • Balance between lead and comping voices
  • Listening to recorded examples and translating feel into performance
  • Rhythmic flexibility and playing slightly behind or ahead of the beat for musical effect

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