Ain't We Got Fun? (arr. Roger Emerson): Choral Instrumental Pak

Emerson's arrangement strips away the period kitsch without losing the tune's essential warmth. The optional bass and drum parts give developing ensembles a genuine reason to swing rather than just thinking about it, and the piano-only version stands on its own for less adventurous programs.

Bright and conversational, with that distinctly 1920s optimism that somehow never feels dated. The harmony sits close and warm; voices move in natural, singable patterns that create a sense of ensemble ease.

This arrangement works for treble, tenor, baritone, or mixed ensembles at the developing level who want to experience authentic jazz idiom without the rhythmic or harmonic complexity of more advanced standards. Directors looking to build swagger and sectional independence will find this a confidence builder.

• Shape the phrasing through the lyrics rather than hanging on rests; let the text naturally guide where singers breathe and land.
• Anchor the piano's rhythm section feel first in rehearsal, then layer the voices around that pocket so the swing lands naturally.
• If using the optional drums and bass, give them rehearsal time with the piano alone before adding voices; they're supporting pillars, not competing.
• Balance vowel consistency in the rhythm voicing so the harmonic color reads clearly even when the parts move quickly.

Pair this with other standards from the same era for a jazz-focused concert set, or use it as a palate cleanser between weightier classical selections to remind audiences that choral music lives in popular song too. The optional instrumental parts open programming possibilities with your band or small jazz ensemble.

• Understanding swing eighth-note rhythm and jazz phrasing conventions
• Maintaining harmonic blend in jazz voicings with close intervals
• Sectional independence within rhythm and melody lines
• Responding to and shaping text within a popular song context
• Ensemble balance when adding rhythm section parts