Ain't Misbehavin': SAB Choral Octavo

Larry Shackley's arrangement captures the infectious energy of the original while keeping the voicing accessible for SAB choirs. The piece swings without demanding advanced jazz technique, making it equally at home in a concert setting or a Broadway revue. It's the kind of tune that audiences recognize immediately and singers love performing because the melody and rhythms are so naturally joyful.

Pure joy and sass. The rhythm swings hard, the melody bounces with personality, and the whole thing radiates the confidence and humor Waller brought to everything he touched. It's music that makes singers smile and audiences clap along.

Show choirs looking for a showstopper that doesn't require advanced jazz training, concert choirs wanting to program something with genuine historical and stylistic authenticity, and directors seeking a crowd-pleasing number that challenges singers rhythmically without excessive vocal range demands. SAB voicing works for mixed ensembles with limited tenor sections or developing singers.

• Emphasize the rhythmic bounce and syncopation throughout. This isn't smooth legit singing; let the swing feel drive the phrasing and articulation.
• Balance the solo sections (if present) so they land clearly over the ensemble without losing the group's groove. Everyone stays engaged even when not singing the main line.
• Work the recorded accompaniment into rehearsals early so students internalize the jazz feel and tempo. The groove is the foundation everything else sits on.
• Shape the dynamics to match the energy arc of the tune. Build intensity through the piece but keep it playful rather than bombastic.

Program this in the second half of a concert when energy and engagement are high, or use it as an opener in a show choir set where you want to grab the audience immediately. It pairs naturally with other jazz standards or Broadway selections and works equally well as a surprise closer that sends people out happy.

• Swing rhythm and syncopation in SAB voicing
• Jazz articulation and phrasing while maintaining choir blend
• Rhythmic independence between voice parts in syncopated writing
• Ensemble listening and balance in contemporary choral jazz settings