When We're Human (from The Princess And The Frog) Sheet Music Preview

When We're Human (from The Princess And The Frog): Choral Instrumental Pak

By Randy Newman / Arranged by Ed Lojeski

Item: 35-PK00145313

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Description
Pure fun! Invoking legendary jazz musicians Louis Armstrong, Benny Goodman and Glenn Miller, this upbeat swing number from Disney's "The Princess and the Frog" will energize any concert! Duration: ca. 2:15.

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Additional Details
Publisher: Hal Leonard
SKU: 35-PK00145313

More about this title

About the Composer: Randy Newman

Randy Newman is a songwriter and composer whose work spans film, television, and concert music. His ability to write memorable melodies and clever lyrics has made him a fixture in American popular music since the 1970s, with a particular gift for capturing vernacular speech and emotional truth in his compositions.

Newman's film scores and songs have earned him multiple Academy Award nominations. His music for Disney's animated features brings the same storytelling sensibility and harmonic sophistication that defines his broader catalog, making his work especially valuable for music educators seeking material that engages students without sacrificing musical substance.

Why we love this

This arrangement captures the infectious energy of classic swing while staying firmly rooted in the Disney theatrical tradition. Ed Lojeski's orchestration gives your singers a genuine big band context, making them feel like they're part of something genuinely jazzy rather than approximating the style. The combo voicing keeps parts manageable while the musical writing remains sophisticated enough to hold the attention of serious musicians.

What to expect

Walking into a 1940s jazz club where the energy is high but never frantic. The melodies are instantly singable, the harmonies sophisticated without being obscure, and the whole piece radiates the kind of joyful confidence that comes from a great band in full swing. There's a wink in the writing, an acknowledgment that music this fun doesn't require apology.

Who it's for

Directors programming concert pops or seeking reliable crowd-pleasers that still demand musical attention from singers and instrumentalists alike. This works equally well for mixed choirs or smaller chamber ensembles, and it bridges the gap between genuine jazz repertoire and accessible show music.

How to get the most out of it

  • Lock the rhythmic precision of the swing feel by having your rhythm section focus on the characteristic lilt of the backbeat rather than playing it mechanically straight.
  • Balance the vocal melody prominently over the accompaniment during the main sections so the text remains clear and the Armstrong-esque character of the writing comes through.
  • Encourage singers to approach phrasing conversationally. This tune works best when delivered with the ease and naturalness of someone simply speaking their mind rather than 'performing' it.
  • Invest time in the section where the big band texture thickens. Make sure each instrumental line cuts through cleanly without the overall sound becoming muddy.

How to use it

Pair this with other film or theatrical selections to create a concert arc that moves through different styles and moods. Its upbeat character and accessible appeal make it an excellent closer for a mixed program, or a high-energy palate cleanser between heavier concert pieces. The approximately 2:15 duration fits neatly into a varied concert set without feeling like filler.

Skills your students will build

  • Swing rhythm and the characteristic triplet feel of jazz-influenced repertoire
  • Stylistic phrasing appropriate to American popular song and big band idioms
  • Balancing vocal and instrumental parts in an ensemble context
  • Text clarity and conversational delivery within a musical arrangement
  • Ensemble awareness and ensemble balance in a thicker harmonic texture

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