A Foggy Day (In London Town): Choral Instrumental Pak
As performed by George Gershwin / Arranged by Kirby Shaw
Item: 35-PK00350831
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Description
Set in a fast swing above a walking bass, this Gershwin standard really cooks! Featuring a wailing group scat chorus, experienced vocal jazz groups will wow the crowd with this sensational chart!
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00350831
More about this title
About the Artist: George Gershwin
George Gershwin (1898-1937) bridged classical and popular music with a fluency that few composers have matched. His gift for melody and harmonic sophistication made standards like "A Foggy Day" enduring vehicles for jazz interpretation, and his works remain central to any serious jazz curriculum.
Gershwin's compositions reward repeated study because they balance accessibility with genuine musical substance. For student musicians, his songs offer natural entry points into jazz harmony, swing feel, and the art of melodic variation.
Why we love this
Kirby Shaw's arrangement captures the heat of swing without overcomplicating the fundamentals, making it genuinely playable for groups ready to commit to the style. The scat chorus gives your singers a chance to shine with personality and rhythmic precision, and the walking bass keeps everyone anchored while the horns push the tempo. This is the kind of chart that makes rehearsals feel like performances.
What to expect
Fast-moving and energetic, with the kind of forward momentum that makes an audience lean in. The walking bass propels everything forward while the scat voices dart and weave above, creating a sense of controlled exhilaration. There's joy here, paired with technical precision.
Who it's for
This arrangement suits experienced vocal jazz ensembles with rhythmic confidence and a taste for classic swing repertoire. Your singers need secure scat skills and the ability to lock into a fast, steady groove; your rhythm section must understand jazz comping and walking bass patterns.
How to get the most out of it
- Lock the swing feel in the rhythm section first. A solid, relaxed swing eighth-note feel underpins everything; if the bass and drums aren't grooving together, the scat section will sound rushed.
- Shape the scat chorus so each section has its own character. Some measures might be tight and punchy; others can breathe more. Vary the dynamic and articulation to keep ears engaged.
- Balance the horns against the vocal scat line. The melody should cut through without overwhelming; the supporting voices should sit solidly in the mix.
- Record a full run-through early and listen as a group. Hearing how all the layers sit together helps singers adjust blend and intonation in ways rehearsal criticism alone cannot.
How to use it
Slot this into the second half of a jazz concert to shift energy and showcase your singers' ability to navigate complex ensemble rhythms. It pairs well alongside other swing standards or bebop-era charts, offering audiences the pleasure of a Gershwin melody delivered with modern swing sensibility and vocal sophistication.
Skills your students will build
- Swing eighth-note feel and phrasing
- Scat singing articulation and rhythmic accuracy
- Ensemble balance in a jazz texture
- Reading and executing syncopated rhythmic figures
- Listening to and supporting a walking bass line