Deed I Do (A.Farber)

Originating from the mid-1920s Tin Pan Alley era, Fred Rose and Walter Hirsch’s enduring composition "Deed I Do" has long served as a vital cornerstone of the jazz vocal repertoire, famously interpreted by legendary artists ranging from Ruth Etting and Benny Goodman to Ella Fitzgerald and Diana Krall. Built upon a classic 32-bar AABA form, the tune possesses an inherently infectious harmonic bounce and a buoyant melodic contour that invites creative reinterpretation. In the hands of contemporary jazz composer and arranger A. Farber, the standard receives a sophisticated, high-energy makeover tailored specifically for a full big band accompanying a featured vocalist. Farber’s chart thrives on a brisk, infectious medium-up swing feel that balances traditional big band transparency with modern, extended harmonic colorations. The arrangement opens with an engaging, rhythmically buoyant instrumental intro that immediately establishes the groove before introducing the vocal line. Throughout the vocal choruses, Farber utilizes clever counter-lines in the saxophones and crisp, punctuated brass stabs that converse dynamically with the singer. The orchestration skillfully avoids muddy textures, utilizing light, nimble woodwind voicings behind the vocal phrases and expanding into rich, multi-layered ensemble shouts that elevate the dramatic tension of the performance. A standout feature of this 43-page arrangement is its brilliant structural pacing, which includes a meticulously crafted shout chorus that reworks the harmonic framework of the AABA structure through clever sequential modulation and punchy rhythmic unisons. The rhythm section parts—featuring detailed guidance for piano, guitar, bass, and drums—drive the chart with an authentic propulsion, ensuring the 4/4 swing feel remains buoyant and transparent. The lead trumpet and saxophone sections are given ample opportunity to shine through tightly knit, harmonically rich soli passages that showcase both technical precision and deep stylistic awareness. Equally suited for advanced collegiate ensembles, community jazz orchestras, and professional big bands, this chart provides a rewarding challenge for groups looking to feature a vocalist with a sophisticated, festival-ready showpiece. The comprehensive 17-instrument instrumentation, complete with a detailed conductor score, ensures that directors have total clarity over every dynamic nuance, making it a stellar addition to any serious vocal-jazz repertoire. Success with this arrangement relies heavily on maintaining a relaxed yet intensely driving medium-up swing tempo. Conductors should ensure the rhythm section locks into a steady, conversational groove where the ride cymbal dictates the pulse without rushing. The brass section must pay close attention to articulation markings; short notes should be crisp and dry, while accented lines require a warm, vocal-like weight rather than a harsh edge. Saxophone solis demand absolute blend and intonation control, particularly during chromatic passing tones and upper-structure extensions. For the vocalist, clarity of diction and rhythmic agility are paramount to navigate the syncopated phrasing smoothly over the big band's roaring background figures. Rehearsals should initially focus on sectional balance—balancing the horns dynamically so they never overpower the vocal soloist during verse sections, while opening up fully during the shout chorus to maximize the dynamic contrast. Q: What instruments and parts are included in this arrangement? A: The chart is scored for a standard 17-instrument big band lineup comprising 5 saxophones (2 altos, 2 tenors, 1 baritone), 4 trumpets, 4 trombones, guitar, piano, bass, and drums, plus a dedicated vocal part and a comprehensive conductor score. Q: What is the designated difficulty level for this piece? A: This arrangement is calibrated for advanced high school, collegiate, and professional big bands, requiring strong section ensemble skills, solid reading abilities, and a mature sense of swing phrasing. Q: What is the musical style and historical background of the piece? A: It is a classic jazz vocal arrangement of Fred Rose and Walter Hirsch's 1926 Tin Pan Alley standard, reimagined through a modern big band lens while retaining its timeless swing-era charm. Q: What makes A. Farber’s arrangement unique? A: It features inventive harmonic reharmonizations, dynamic conversational counter-lines behind the vocalist, and a high-energy shout chorus that creatively reinterpreting the traditional 32-bar AABA form. Q: What is the recommended tempo and general duration of the piece? A: The piece is set in a medium-up 4/4 swing feel, generally performed at around 144 to 152 BPM, resulting in a performance duration of approximately 3.5 to 4 minutes depending on solo extensions.