As Time Goes By: SSA Choral Octavo

This arrangement gives you genuine flexibility: it works equally well in a show choir setting, a concert program, or a jazz ensemble context, so you're not locked into one aesthetic. Jay Althouse's voicing for SSA is clean and singable without sacrificing harmonic interest, and the optional solos and alto sax feature mean your ensemble can scale the arrangement up or down depending on who shows up on performance day.

There's a timeless, slightly wistful quality to this arrangement that captures the song's original character: romantic without being sentimental, nostalgic without being maudlin. The harmonies are warm and familiar, evoking the golden age of American song, and the optional solos create intimate moments within the ensemble texture.

SSA choirs of all kinds will find this accessible and musically rewarding: high school concert choirs, college show choirs, community choruses, and jazz ensembles. The piece sits comfortably for upper voices and doesn't demand extensive range or complicated rhythmic literacy, making it suitable for developing ensembles while remaining sophisticated enough for advanced singers.

• Shape the melody line with gentle phrasing rather than strict rhythm; "As Time Goes By" is a standard ballad, and it needs space to breathe. Let singers connect the lyrics to the shape of the tune.
• If you're using the optional solos, select singers who can handle rubato and understatement. This piece does not reward overdoing; restraint is the idiom.
• Balance the harmonies so the melody remains the focal point. In this arrangement, upper voices often carry the tune while altos support underneath; rehearse blend deliberately rather than assuming it will happen.
• If you include the alto sax solo from the SoundPax, give it space in rehearsal and performance. The saxophone voice should feel like a natural extension of the choir, not a separate feature.

Program this alongside other standards or movie themes to create a "Great American Songbook" set, or pair it with contemporary pop arrangements to bridge classical and commercial idioms. It also works beautifully as a concert closer or as part of a themed program exploring cinema and music.

• Legit phrasing and lyrical line-singing in a jazz-influenced context
• Harmonic awareness and blend in four-part writing
• Optional solo performance and ensemble independence
• Stylistic flexibility and code-switching between concert and show contexts