And All That Jazz: SATB Choral Octavo

Kirby Shaw's arrangement captures the sultry, sophisticated energy of the original while making it entirely accessible for SATB ensembles. The piece swings without requiring advanced jazz technique, and the instantly recognizable piano opening gives audiences an immediate sense of Broadway glamour. It's the kind of show-stopper that leaves singers grinning and audiences wanting more.

Sultry, confident, and unapologetically theatrical. The opening piano lines shimmer with old-school Broadway sophistication, and the arrangement invites singers to tap into the song's inherent swagger. It's the kind of piece that makes a choir feel like they're performing in a smoky theater, even in a school gymnasium.

High school and college choirs looking for a crowd-pleasing Broadway number that doesn't require operatic voices or classical training. Directors seeking repertoire that bridges musical theater and jazz styles will find this arrangement both singable and authentic.

• Nail the rhythmic precision of those opening piano chords; they set the whole groove. Work the accompaniment with your singers until the band and choir are locked together.
• Lean into the swagger of the tempo marking. This isn't a ballad; it has attitude. Let the rhythm section breathe with the walking bass and keep the energy hovering just above a strut.
• Balance the parts so soloists or sectional moments (if your arrangement includes them) sit naturally in the texture rather than floating above it.
• Consider subtle Fosse-inspired staging or movement. Even simple gestures that echo the jazz aesthetic will amplify the performance's theatricality.

Program this as an opener or closer on a Broadway-themed concert; its recognizability and energy make it a natural audience hook. It also pairs well with other jazz or theater standards in a mixed concert, offering a stylistic contrast to classical choral work while maintaining musical substance.

• Jazz phrasing and rhythmic precision (swing feel, syncopation)
• Sectional balance in theater arrangements (managing soloists within ensemble texture)
• Stylistic interpretation (understanding the difference between classical diction and theater singing)
• Ensemble cohesion around a groove-based accompaniment