Don't Be That Way (D.Scaletta)

"Don't Be That Way," a quintessential jazz standard, emerged from the vibrant Swing Era, first penned by alto saxophonist and arranger Edgar Sampson in 1933 while he was a member of Rex Stewart's band. It gained initial traction with Chick Webb's Orchestra, who first recorded it in 1934, charting in 1935. However, it was Benny Goodman's iconic 1938 recording, which opened his legendary Carnegie Hall concert, that propelled the tune to international fame, reaching number one on the charts later that year. Mitchell Parish later added lyrics in 1937, though the piece is predominantly celebrated for its instrumental dynamism. The song's enduring appeal lies in its infectious, driving rhythm and its characteristic AABA form, making it a cornerstone of the big band repertoire and a definitive representation of the era's energetic, dance-oriented jazz. D.Scaletta's arrangement of "Don't Be That Way" captures the effervescent spirit of the original while infusing it with fresh, articulate voicings and dynamic contrasts. Set in a bright medium swing tempo, typically around 180-200 BPM, the arrangement immediately establishes an uplifting and energetic mood. The primary key of E-flat major provides a rich, brassy foundation, allowing the ensemble to project with clarity and brilliance. Scaletta masterfully employs a blend of tight, harmonically sophisticated brass voicings and flowing saxophone soli sections, creating a vibrant call-and-response texture that is both historically informed and uniquely expressive. The arrangement builds through carefully sculpted dynamic arcs, leading to exhilarating shout choruses that showcase the full power of the big band. This arrangement features the melody initially carried by the saxophone section, often in unison or tight harmonies, before being passed to the brass for powerful statements. There are ample opportunities for featured solos, typically for tenor saxophone and trumpet, with clearly marked chord changes provided for improvisation. Scaletta's signature approach often includes subtle reharmonizations that add harmonic interest without straying from the swing idiom, along with strategically placed rhythmic figures that enhance the piece's forward momentum. The technical challenges lie in maintaining precision and blend within the fast-paced soli passages and ensuring tight rhythmic articulation across all sections. The reward for performers is an arrangement that feels authentic to the era yet offers modern playability, culminating in a thrilling and satisfying performance experience that truly swings. Designed for big bands with a strong command of swing articulation and ensemble dynamics, this arrangement is particularly suitable for advanced high school, college, community, and professional jazz ensembles. Its detailed scoring and nuanced harmonic language provide an excellent educational opportunity for developing musicians to delve into classic big band style, while its vibrant energy and well-crafted solos make it an exciting showcase for seasoned players. The arrangement's 30 pages of meticulously notated music ensure that every section has engaging and challenging material, making it a rewarding addition to any ensemble's concert program. This arrangement thrives on a bright medium swing feel, ideally performed between 180-200 beats per minute. Conductors should emphasize a forward-driving pulse with a clear, buoyant eighth-note interpretation, avoiding any tendency to rush. Key technical challenges include the precision required for the saxophone soli passages and the brass section's tight rhythmic figures; meticulous rehearsal of these sections will ensure clarity and impact. Special techniques such as short, crisp falls for the brass and expressive scoops for the saxophones are integral to achieving an authentic swing sound and should be practiced for stylistic consistency. Rehearsal tips include isolating challenging rhythmic motives, focusing on blend and balance within and between sections, and encouraging soloists to develop their improvisations within the established harmonic framework, drawing inspiration from classic swing soloists. Q: What instruments and parts are included in this arrangement? A: This arrangement for big band vocal includes standard instrumentation: 5 saxophones (2 altos, 2 tenors, 1 baritone), 4 trumpets, 4 trombones, and a full rhythm section (piano, bass, drums, guitar). It also includes a vocal lead sheet. Q: What is the difficulty level of this arrangement? A: This arrangement is considered advanced, suitable for experienced high school, college, community, and professional jazz ensembles. It requires strong technical proficiency in all sections, particularly for the intricate soli passages and featured solos. Q: What is the musical style and historical context of "Don't Be That Way"? A: "Don't Be That Way" is a classic jazz standard from the Swing Era, originally composed by Edgar Sampson in 1933 and famously popularized by Benny Goodman's Orchestra in 1938. It embodies the energetic, danceable big band sound of the late 1930s. Q: What makes D.Scaletta's arrangement of "Don't Be That Way" unique? A: D.Scaletta's arrangement offers a fresh perspective on this classic, featuring sophisticated voicings, dynamic contrasts, and engaging soli sections that honor the original's spirit while providing modern playability. It includes well-crafted solo sections and exhilarating shout choruses. Q: What is the typical performance duration and tempo for this piece? A: The typical performance duration for this arrangement is approximately 3-4 minutes, depending on the length of improvised solos. It is designed to be played at a bright medium swing tempo, ideally between 180-200 beats per minute.