From the beginning of the Middle Ages, we have known performance practices in which the duration of the notes can differ from the actual notation. In some cases, binary written melodies were performed in a ternary way. This is also the case in the present-day shuffle: the written quavers are performed in a long-short system in which the ratio is 2:1. In other words, the performance practice is based on a triplet feel. In this composition, all ingredients of the shuffle are featured: a vigorous swing rhythm, a walking bass, the successions of thirds in the accompaniment and the frequent use of triplets. To make sure that the binary written rhythms in the accompaniments are performed in the correct ternary manner, Peter Kleine Schaars has notated the melody themes in triplets as much as possible. Thus, this composition is a very useful exercise for the swing development of your ensemble. Additionally, the work is a treat to listen to, so your audience will really appreciate this up-tempo big band like composition. All ternary rhythmic cells 17 till 24 pass in revue, furthermore much attention had been paid to a correct performance of cell 4 in swing feel.