Cheek To Cheek (arr. Craig McLeish): SSAATTBB Choral Octavo

Craig McLeish's arrangement distributes the melody across all eight parts in ways that keep the texture fresh and the harmony moving. The octavo voicing works beautifully whether you have singers sitting in every section or need flexibility in your lineup, making it genuinely useful for real choirs with real attendance challenges.

Warm, intimate, and playful. The melody glides over harmonies that feel both classic and modern, capturing that moment when two dancers realize they fit together perfectly. There's lightness here, even in the fuller sections; the song never demands intensity, just authenticity.

Choirs with a jazz or pop focus, or directors looking to program a sophisticated standard that sits comfortably in most vocal ranges. The eight-part voicing makes it accessible for ensembles building their jazz repertoire without extensive experience in the idiom.

• Shape the phrases as if they're conversational exchanges between the voice parts. The harmony should feel like the singers are dancing together, not just singing blocks of sound.
• Balance the soprano and tenor lines carefully in the verse sections. McLeish often places the melody in upper voices, but the piece only breathes when the lower parts support it with equal presence.
• Let the rhythm section anchor the swing feel from the first downbeat. This standard thrives on clarity of pulse; without it, even good intonation sounds mushy.

Place this alongside other Berlin standards or contemporary jazz arrangements to show singers how the same song can be reimagined. It works equally well as a complete set piece or as part of a longer medley celebrating American songwriting tradition.

• Phrasing idiomatic to jazz and popular music styles
• Harmonic listening across eight voice parts
• Balancing soloistic and ensemble textures in tight vocal arrangements
• Rhythmic precision in swing-inflected passages
• Navigating chromatic movement in inner voices