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Ba by, ba by, it looks like it’s gon na hail.
(Eb)Ba by, ba by, it looks like it’s gon na hail;
You bet ter (F7)come in side and let me (F7)teach you how to jive and wail.
Oh, you got ta jump, jive, and then you wail.
You got ta jump, jive, and then you wail.
You got ta jump, jive, and then you wail.
You got ta jump, jive, and then you wail.
You got ta jump, jive, and then you wail a way.
Pa pa’s in the ice box look ing for a can of ale.
(Eb)Pa pa’s in the ice box look ing for a can of ale.
Ma ma’s in the back yard (F7)learn ing how to jive and wail.
Oh, you got ta
A (Bb)wom an is a wom an and a man ain’t noth in’ but a male.
Wom an is a wom an and a man ain’t noth in’ but a (Bb)male.
One good thing a bout him; he (F7)knows how to jive and wail.
(B)Jack and Jill went up the hill to get a pail.
(E)Jack and Jill went up the hill to get a pail.
(C#m7)Jill stayed up; she wants to (F#)learn how to jive and wail.
Jump, jive, and then you wail.
You got ta jump, jive, and then you wail.
You got ta jump, jive, and then you wail.
You got ta jump, jive, and then you wail.
You got ta jump, jive, and then you wail a way.
You got ta jump, jive, and then you wail.
You got ta jump, jive, and then you wail.
You got ta jump, jive, and then you wail.
You got ta jump, jive, and then you wail.
You got ta jump, jive, and then you wail a way.
Oh, you got ta jump, jive, and then you wail.
You got ta jump, jive, and then you wail.
You got ta jump, jive, and then you wail.
You got ta jump, jive, and then you wail.
You got ta jump, jive, and then you wail a way.
Oh, you got ta
This page shows “Jump, Jive An' Wail” by The Brian Setzer Orchestra in our color-coded kid songbook view — every note is colored by pitch (red C, orange D, yellow E, green F, blue G, purple A, pink B) and the lyrics sit directly under each note, so children can sing along while they play. The song is in the key of Eb at 120 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a fantastic workout for your dominant-seventh voicings — you'll cycle through Eb7, Db7, B7, F7, and more, so getting comfortable with those four-note shapes across multiple root positions is priority one. Your left hand drives a walking bass line, which at 120 BPM needs to feel loose and swung, not rigid, so start at around 80 BPM hands-separate until that bass sits in a steady groove. Once it's solid, layer in your right-hand chords, paying close attention to the transitions between Eb and the B/F#7 areas — those are big positional jumps that'll trip you up if you haven't mapped the fingering in advance. Loop those trouble spots ten times slowly before running the full chart. The biggest stumbling point is rushing the swing feel when chords change fast, so keep your foot tapping steady eighths. This is the piece that'll make dominant sevenths feel like home under your fingers.