All of Me: SSA Choral Octavo

Jay Althouse's arrangement strips away the jazz complexity that might intimidate younger choirs while preserving the style's essential character. The inclusion of optional scat sections and instrumental parts (alto sax and vibes) lets you scale the production up or down depending on your ensemble's experience and available musicians, making this genuinely flexible for programs at different levels.

Warm, swinging, and intimate. The scat sections feel playful and conversational, while the solos invite vulnerability. The overall effect is sophisticated joy—a song that audiences recognize instantly but hear arranged with enough personality that it feels fresh.

This arrangement works for intermediate to advanced SSA choirs ready to tackle jazz style with confidence. Directors seeking repertoire that bridges the standards repertoire with contemporary choral programming will find this accessible without feeling simplified.

• Establish the swing feel early in rehearsal by having the rhythm section (or recorded accompaniment) lock in before the choir learns their parts. A straight, non-swung interpretation will drain the arrangement's energy.
• Balance the solos carefully so they emerge from rather than compete with the ensemble sections. These moments should feel conversational, not like spotlight performances.
• Keep the scat sections playful but articulate. Clarity matters more than speed; the audience needs to enjoy the wordless texture you're creating.
• If using live instruments, schedule separate rehearsals with your alto sax and vibes players to ensure they lock with the choir's phrasing and the recorded rhythm section.

This pairs beautifully with other American standards or as a lighter moment in a concert focused on jazz and pop idioms. It also works as a finale or closer since the tune's inherent optimism and the arrangement's energy send audiences out smiling.

• Singing jazz harmonies and chord extensions with accuracy
• Executing scat syllables with rhythmic precision and articulation
• Responding to swing rhythms without relying on visual conducting cues
• Balancing ensemble blend with solo presence
• Coordinate with instrumental musicians in a mixed ensemble context