Ain't Misbehavin': Choral Instrumental Pak
As performed by Thomas "Fats" Waller / Arranged by Mark Hayes
Item: 35-PK00276626
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Description
In 1929, "Fats" Waller made this a standard and, in 1984, it won the Grammy Hall of Fame Award. Today, this new and lively arrangement has an upbeat piano accompaniment along with superb (optional) instrumental parts that add to the swingin' vocals. Arranged for mixed as well as women's voices, this is sure to be a hit!
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00276626
More about this title
About the Artist: Thomas "Fats" Waller
Thomas "Fats" Waller (1904–1943) was a pianist, organist, composer, and bandleader who became one of jazz's most influential figures during the swing era. Known for his virtuosic keyboard work, infectious energy, and witty stage presence, Waller composed hundreds of songs that became standards in the American songbook, including "Ain't Misbehavin'," "Black and Blue," and "Honeysuckle Rose." His ability to blend sophistication with accessibility made him a bridge between jazz and popular music.
Why we love this
Mark Hayes strips away none of the charm that made this a 1929 standard while delivering an arrangement that sits perfectly in community choir range. The optional instrumental parts open doors for mixed ensembles that might include jazz band students or instrumentalists in the audience, creating flexible programming without sacrificing the vocal focus.
What to expect
Warm, sophisticated, and genuinely fun. The upbeat piano drives the piece forward while the melody sits in a conversational range that lets singers smile and communicate directly with the audience. It swings without being precious about it.
Who it's for
Directors seeking a showstopper that works for both mixed and women's ensembles without requiring extensive jazz training from singers. This arrangement serves community choirs, show choirs, and jazz-curious groups who want to tap into the Great American Songbook with confidence.
How to get the most out of it
- Keep the rhythm section locked and relaxed rather than rushed; the swing feel depends on space between the eighth notes, not tempo pushing.
- Balance the optional instrumental parts so they enhance rather than overpower the singers; think of them as conversational partners rather than soloists.
- Lean into the lyrical humor; this arrangement rewards singers who commit to the storytelling and let personality come through in phrasing.
- Work the piano accompaniment as a rhythmic anchor; Hayes's voicings are meant to sit comfortably under the chords and shouldn't be played too percussively.
How to use it
Place this in a spring or gala concert program where you want a style break that still feels elegant and well-crafted. It works equally well as a closing number or as part of a jazz standards set, and the flexibility to add or drop instrumental parts means you can adapt it to your ensemble's evolving lineup throughout the season.
Skills your students will build
- Swing feel and interpretation (understanding eighth-note triplet subdivision without writing it)
- Ensemble balance between voice and optional instruments
- Jazz articulation and phrasing conventions
- Comfortable sight-reading in less common jazz voicings
- Musical storytelling and comedic timing in a pop-jazz context