'Tain't What You Do (It's The Way That Cha Do It) (arr. Rosana Eckert) Sheet Music Preview

'Tain't What You Do (It's The Way That Cha Do It) (arr. Rosana Eckert): 3-Part Mixed Choral Octavo

As performed by Ella Fitzgerald / Arranged by Rosana Eckert

Item: 35-DS00399438

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Additional Details
Publisher: Hal Leonard
Page Count: 14
SKU: 35-DS00399438

More about this title

About the Artist: Ella Fitzgerald

Ella Fitzgerald redefined what it means to be a jazz vocalist. Her technical command of melody, impeccable intonation, and ability to swing any phrase made her one of the most recorded artists in history. From her early years with the Chick Webb Orchestra through her solo career, she became a standard bearer for jazz singing and earned the title "First Lady of Song."

For music educators, Fitzgerald's legacy offers essential lessons in phrasing, rhythmic flexibility, and how to honor a lyric while pushing musical boundaries. Her interpretations demonstrate how singers can shape time and tone without losing clarity or losing the listener.

Why we love this

Eckert's arrangement captures the playful sass of this standard while making it genuinely singable for a mixed chorus. The 3-part voicing avoids the density trap that can bury a song's wit; instead, the parts sparkle and trade lines in ways that keep energy alive throughout the 14 pages.

What to expect

This arrangement brings a sophisticated snap to the rehearsal room. It's playful without being frivolous, swinging without requiring everyone to have jazz training, and fun to hear come together as the three parts lock into the groove.

Who it's for

Choirs comfortable with swing style and rhythmic independence will thrive with this arrangement. It works equally well for high school mixed choirs, community choruses, and college groups looking to add a tried-and-true standard to their pop/jazz repertoire.

How to get the most out of it

  • Keep the tempo brisk and conversational. This tune lives in the space between shuffle and swing; drag the rhythm and you lose the cheeky charm that makes the lyrics land.
  • Listen carefully to how each voice part enters and exits phrases. The arrangement likely trades the melody around, so commit to releasing your line cleanly so the next entrance feels inevitable.
  • Treat the lyrics as dialogue, not decoration. The title itself is the hook. Make sure audiences hear it clearly and feel the wordplay beneath the musical setting.

How to use it

Program this as a springboard moment in a concert of standards or an American songbook set. It works well after or between more serious repertoire, giving audiences a moment to smile and reminding them that jazz standards can be joyful without being trivial.

Skills your students will build

  • Swing eighth notes and triplet feel
  • Trading melody lines and ensemble awareness
  • Phrasing with rhythmic flexibility over a steady pulse
  • Articulating jazz lyrics with clarity and attitude

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