After You've Gone (from One Mo' Time) (arr. Kirby Shaw): SAB Choral Octavo
After You've Gone (from One Mo' Time) (arr. Kirby Shaw) Sheet Music Preview

After You've Gone (from One Mo' Time) (arr. Kirby Shaw): SAB Choral Octavo

Arranged by Kirby Shaw

Item: 35-DS00451656
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Additional Details
Publisher: Hal Leonard
Page Count: 7
SKU: 35-DS00451656

More about this title

About the Arranger: Kirby Shaw

Kirby Shaw

Kirby Shaw's influence spans across six continents, from his foundational work in California public schools to his current leadership of the Jefferson State Choral Coalition at Southern Oregon University. His formal training in music education, choral composition, and conducting from San Jose State and the University of Washington laid the groundwork for a career marked by prolific output: over 2500 published arrangements and compositions that have sold nearly 20 million copies worldwide and earned him multiple ASCAP awards.

Beyond the numbers, Shaw is known for the infectious energy and humor he brings to music education. He has collaborated directly with jazz icons like Bobby McFerrin, Al Jarreau, and Jon Hendricks, translating those experiences into vibrant educational arrangements. His work directing award-winning vocal jazz ensembles at multiple universities shaped generations of singers, while his recent commission for the Mormon Tabernacle Choir confirms his standing as one of choral music's most sought-after voices.

Why we love this

Shaw's arrangement captures the swagger and rhythmic snap of this jazz standard while making it genuinely accessible for SAB choirs. The voicing sits comfortably in the middle of each part's range, and the countermelody and rhythmic figures are rhythmically engaging without demanding instrumental-level precision from your singers.

What to expect

This is pure warmth and swing. The arrangement has an intimate quality despite being written for full SAB forces, with that nostalgic early-20th-century jazz flavor that somehow feels both retro and timeless. There's a lightness and joy in the writing that invites your singers to relax into the groove.

Who it's for

Choirs with solid rhythmic foundation who are ready to tackle a genuine jazz standard with style and precision. This works equally well for youth choirs seeking age-appropriate jazz material and adult groups looking to expand their secular repertoire with something genuinely fun.

How to get the most out of it

  • Anchor the groove in the rhythm section. The piece lives or dies by how locked your basses and middle voices are on the backbeat and rhythmic syncopation.
  • Articulate the consonant clusters crisply, especially in the opening phrases. This tune needs some snap to breathe properly.
  • Let your soprano soloists claim the melody with confidence. This isn't a piece that benefits from oversinging or apologetic phrasing.
  • Use the text rhythm as your guide to phrasing. Shaw has set this lyric so that the natural speech rhythm and musical line align beautifully.

How to use it

Pair this alongside other jazz standards or early American popular music for a concert focused on the Great American Songbook. It also pairs beautifully with other Shaw arrangements if you're building a contemporary or jazz-inflected set.

Skills your students will build

  • Rhythmic precision in syncopated figures and backbeat patterns
  • Stylistic interpretation of jazz phrasing and articulation
  • Ensemble blend and balance across three-part voicing
  • Reading and performing countermelodies independently while maintaining harmonic cohesion

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