All Shook Up (arr. Craig McLeish): SSATBB Choral Octavo

Craig McLeish captures the infectious energy of this rock and roll standard while making it genuinely singable for mixed voices. The arrangement respects the original's swagger without demanding the vocal gymnastics that often make pop covers feel awkward in a choral setting. Your singers will feel the fun of the song while staying locked in tight harmonies.

Playful, propulsive, and genuinely fun. The arrangement channels the original's cheeky confidence, built on locked harmonies that feel more like a conversation between friends than a formal choral work. There's lightness here, but also musicality that rewards careful listening.

Directors seeking a rock standard that works for SSAA or SSA ensembles without reducing the original to something unrecognizable. This lands well with high school choirs and adult vocal groups who want contemporary energy with real harmonic substance.

• Keep the rhythm section (and the whole ensemble) feeling the groove rather than counting it. This piece lives in pocket, not on the metronome.
• Bring out the call-and-response moments between voice parts. They're what make the arrangement conversational and keep energy moving forward.
• Shape phrases with the lyrical intent of the original. Resist the urge to over-articulate; let the swing and attitude speak naturally.
• Balance the melody against supporting harmonies so the hook stays memorable. The arrangement works best when the listener always knows what song they're hearing.

Pair this with other rock or pop standards to build a set that feels current without losing depth. It works as an opener to grab attention or as a closer that sends the audience out energized. Consider programming it after something more introspective to showcase your choir's range.

• Rhythmic precision within a groove-based texture
• Singing in a contemporary musical idiom with authentic style
• Balancing melody projection with harmonic support
• Shaping phrases for lyrical and rhythmic intent rather than formal classical phrasing