A Wink And A Smile (arr. Kim Brittain): TTBB Choral Octavo

Brittain's arrangement unlocks the charm of this standard for male voices, preserving Shaiman's melodic warmth while crafting parts that sit naturally across the TTBB range. The flexible voicing options mean you can adapt this to your ensemble's strengths, and the barbershop sensibility adds a playful character that energizes rehearsals and audiences alike.

Warm, witty, and immediately likable. The arrangement captures the affable charm of the original while giving male voices room to shine with genuine four-part writing that never feels forced. There's a playful sophistication here, like a wink delivered with perfect timing.

Male choirs seeking repertoire that entertains without sacrificing musicality, and directors who want a piece that builds esprit de corps while remaining accessible for groups without extensive jazz or barbershop experience. The flexible voicing makes it useful for auditions, pops concerts, or after-dinner performances.

• Shape the phrase contours with clear dynamic arcs; this tune relies on singers understanding where the melody breathes and where it builds momentum across longer lines.
• Balance the blend by establishing a strong lead line, then layer the supporting voices underneath rather than alongside. This creates the transparency that makes swing charts sound effortless.
• Lock the rhythmic precision in the accompaniment parts early in rehearsal. Even small syncopations need exact placement to capture the song's playful groove.
• Let the text rhythm guide your phrasing rather than imposing a strict metronomic approach. The natural conversational quality of the lyrics will keep the arrangement from feeling mechanical.

Pair this with other standards or light Broadway selections to create a pops concert segment that appeals broadly while maintaining musical credibility. It also works beautifully as a finale or encore, leaving audiences smiling without undermining the evening's overall arc.

• Swing eighth-note articulation and syncopation
• Balancing melody and harmony in jazz voicing
• Interpreting text with conversational phrasing
• Four-part voice independence in close harmony