All the Things You Are: Choral Instrumental Pak

Mark Hayes's arrangement strips away none of the song's harmonic richness while wrapping it in a warm, propulsive samba groove that feels both fresh and respectful to the original. The vocal writing sits naturally for singers while the optional instrumentation gives ensembles the flexibility to expand their sound, making this equally strong whether performed a cappella or fully orchestrated.

Warm and sophisticated. The samba accompaniment creates forward momentum without demanding aggressive or overly contemporary energy, while Kern's elegant melody invites singers into a relaxed, conversational expression. There's a real sense of class here; this doesn't feel precious, but it does feel finished and refined.

Any choir seeking an accessible standard that works equally well in a pop or jazz-focused concert, an American music survey, or a lighter spring program. The arrangement accommodates various voicing needs and instrumental resources, making it practical for diverse ensemble sizes and configurations.

• Shape the vocal phrases with attention to the lyrical contour rather than the accompaniment's rhythmic drive; let the singers breathe at logical textual points even when the Latin groove continues underneath.
• If using instrumental parts, establish the samba rhythm clearly in rehearsal before adding vocals; consider having rhythm section run the groove independently for several rehearsals to internalize the pocket.
• Lean into the smoothness of the vocal lines without rushing the tempo; this arrangement rewards clarity of articulation and legit tone production that sits above the accompaniment rather than competing with it.
• Balance the recorded track volume during rehearsals so singers can hear their own blend; pull it back in performance to allow the live ensemble more presence.

Pair this with other standard repertoire to create a mid-concert segment celebrating American songwriting, or use it as an opener to establish a more contemporary, jazz-adjacent mood for the evening. The roughly three-and-a-half minute duration makes it strong either as a standalone feature or as part of a medley exploring different jazz and pop interpretations of classic material.

• Singing over syncopated accompaniment without rhythmic alignment
• Phrasing and lyrical interpretation in the jazz-standards tradition
• Balancing vocal blend against rhythmic instrumental textures
• Samba rhythm and Latin feel recognition
• Flexibility between a cappella and accompanied voicing