Blue Moon: SATB Choral Octavo
Music by Richard Rodgers, words by Lorenz Hart / arr. Jay Althouse
Item: 00-PO-0002332
$2.10
Minimum order quantity: 20 copies
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Description
Only once in a blue moon does a song like this come along! This Rodgers and Hart hit has been recorded by legions of stars. Jay's arrangement starts soulfully, then kicks into The Marcels' 1961 doo-wop version.
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Additional Details
Series:
Alfred Pop Choral Series
Publisher:
Alfred Music
Page Count:
12
SKU:
00-PO-0002332
More about this title
About the Composer: Richard Rodgers
Richard Rodgers (1902-1979) stands among the most prolific and successful composers in American musical theater. His partnership with lyricist Lorenz Hart produced some of the Great American Songbook's most enduring standards, including "Blue Moon," "My Funny Valentine," and "The Lady Is a Tramp." Rodgers's gift for melody and harmonic sophistication made popular song accessible without sacrificing musical depth, a quality that has kept his work in active performance across concert halls, jazz ensembles, and choral arrangements for generations.
In the classroom and rehearsal room, Rodgers's compositions offer students a direct connection to American musical heritage. His melodies are singable yet sophisticated, his harmonic language teaches voice leading naturally, and his songs have proven their staying power across decades and countless interpretations. Teachers turn to Rodgers material not just for its historical significance, but because it engages singers and audiences alike.
Why we love this
Jay Althouse's arrangement captures the song's duality perfectly: it honors the classic Rodgers and Hart ballad while embracing the infectious doo-wop energy of The Marcels' 1961 hit. Your choir gets two arrangements in one package, which means you can teach voice independence, style shifting, and the collaborative nature of popular music all through a single beloved standard.
What to expect
The arrangement glides from intimate, romantic balladry into a playful, bouncing doo-wop celebration. Singers and audiences will recognize the melody immediately, but the shift in texture and energy transforms a nostalgic standard into a fresh, engaging performance that showcases both choral control and ensemble personality.
Who it's for
Choirs looking to program a well-known standard that bridges classical choral tradition and popular music. This arrangement works for upper-level high school and college ensembles, as well as adult and community choirs comfortable with style contrasts and rhythmic precision.
How to get the most out of it
- Shape the opening ballad section with long, connected phrases; let the singers breathe as a choir, not as soloists, to establish the soulful foundation before the tempo lifts.
- Nail the rhythmic precision in the doo-wop section. The Marcels' version is built on snappy, synchronized parts; anchor your singers with a crisp conducting pattern and clear syllabic attacks.
- Use the recorded accompaniment to lock the style transition. Play it during rehearsals so singers internalize the shift from rubato balladry to groove-locked doo-wop without losing musical coherence.
- Balance the inner voices in the harmonic padding (particularly in the doo-wop section). These parts drive the groove but shouldn't dominate; a light, rhythmic touch from altos and tenors lets the melody soar.
How to use it
Pair this with other popular song standards to build a set that demonstrates how American songwriting shaped modern music. It also serves as an excellent closer for concerts aimed at mixed or general audiences, since the tune is beloved across generations and the doo-wop twist adds an element of surprise and fun.
Skills your students will build
- Managing dynamic contrast between ballad and uptempo sections
- Maintaining rhythmic precision and ensemble cohesion in doo-wop style
- Identifying and performing different arrangement approaches to the same tune
- Balancing melody and harmonic layers in jazz-influenced voicings