Almost Like Being In Love: SATB Choral Octavo

Darmon Meader's arrangement captures the breezy optimism of this Lerner and Loewe gem while keeping the harmonic language accessible for mixed voices. The piece swings with genuine ease rather than forcing jazz vocabulary, making it an ideal choice for choirs seeking material that sounds more sophisticated than it plays.

Warmth mixed with lightness. The harmony settles into comfortable jazz sonorities that feel both familiar and slightly sophisticated, while the melody itself maintains the directness and sincerity of a well-crafted love song. There's a sense of movement throughout, even in quieter moments.

SATB choirs with solid fundamentals in jazz inflection and who want a crowd-pleasing standard that doesn't require a rhythm section. This works equally well for concert programs or informal settings where singers can connect with both the music and the story.

• Shape the phrase endings with slight rhythmic relaxation to let the jazz idiom breathe naturally; resist the urge to land too squarely on downbeats.
• Balance the inner voices carefully in sections where they carry countermelody; these lines deserve clarity without overwhelming the soprano line.
• Explore dynamic shaping across the full arc rather than holding one energy level; the song's emotional trajectory needs space to unfold.

Place this in the middle section of a concert to shift mood without jarring the audience. It pairs naturally with other American musical theater repertoire or as a palate cleanser between heavier classical or contemporary works. The piece also works beautifully in spring pops concerts or alumni events.

• Jazz articulation and phrasing conventions
• Voice leading in seventh and ninth chord progressions
• Balancing independence of lines within an ensemble texture
• Lyrical storytelling in a contemporary idiom