As Time Goes By: SAB Choral Octavo

This arrangement captures everything that makes the original iconic while remaining genuinely singable for SAB ensembles. Jay Althouse's writing respects the melody's elegance while providing optional solo moments and thoughtful harmonies that sound fuller than the voicing suggests, and the inclusion of an optional alto sax solo creates natural programming flexibility for choirs with instrumental support.

Nostalgia meets sophistication in this arrangement. The melody carries the wistful, romantic quality of a song written in a specific moment in time, yet it feels contemporary enough to engage modern singers. There's a cinematic quality to it, a sense of looking back with both warmth and a touch of melancholy.

This octavo works beautifully for jazz choirs, show choirs, and concert ensembles seeking repertoire that connects students to American musical heritage. It suits intermediate-level singers who have foundational blend and intonation skills but may still be building confidence with jazz inflection and standard swing style.

• Balance the optional solos carefully so they enhance rather than interrupt the flow of the phrase; treat each solo section as a natural conversational moment within the tune.
• Work the chord changes with your accompanist to ensure the harmony lands cleanly, particularly around the standard progression that defines this song's character.
• Shape the melody with gentle dynamic contours rather than pushing volume; this tune lives in intimacy, even in a choral setting.
• If using the alto sax solo, rehearse the choir parts independently first, then layer in the instrumental line so singers understand how to support without competing for attention.

Consider programming this as a centerpiece in a standards-themed concert or as a companion to other Great American Songbook material. Its accessibility and cultural familiarity make it an excellent bridge between show choir and concert choir repertoire, and it works particularly well on programs that celebrate film music or twentieth-century American composition.

• Singing jazz inflection and swing phrasing within a choral context
• Balancing optional solo lines with ensemble harmony
• Working with popular song form and standard harmonic progressions
• Blending three-part SAB voicing while maintaining melodic independence