Come On, Get Happy! The Music Of Harold Arlen In Concert (Medley): SAB Choral Octavo

Kirby Shaw's medley approach lets you program an entire Arlen celebration without requiring soloists or extensive staging, yet the writing never feels thin or compromised. The SAB voicing opens this material to more singers while keeping the harmony sophisticated enough to engage stronger ensembles. These iconic tunes carry instant recognition and genuine warmth, making them crowd favorites at pops concerts and spring programs alike.

Elegantly nostalgic yet energetic, this medley captures the golden age of American songwriting while maintaining genuine warmth rather than kitsch. The writing dances between swinging moments and lush harmonic colors, inviting singers to inhabit the style fully without sacrificing ensemble blend.

SAB choirs looking for sophisticated popular music that respects their singers' musicality while remaining accessible to audiences of all ages. Works equally well for groups with developing sight-readers and experienced singers seeking stylistically rich material that stretches their jazz vocabulary.

• Balance the lyrical material against rhythmic passages by having sections mark time on sustained notes rather than letting them drop out entirely; this maintains ensemble cohesion through style shifts.
• Emphasize the jazz inflections in phrasing rather than treating rhythmic figures metronomically; Arlen's music lives in the spaces between strict time.
• Coach the transition moments between songs so they feel like natural conversation rather than medley seams; brief moments of silence often work better than rushing into the next tune.

Perfect for spring pops concerts or end-of-year celebrations where you want something substantial and sophisticated without classical pretension. Pair it with other jazz or musical theater medleys for a full set, or use it as a centerpiece surrounded by shorter works in contrasting styles. The 19-page length makes it substantial enough to anchor a program section while remaining manageable for groups balancing multiple pieces.

• Jazz articulation and swing phrasing in an ensemble context
• Navigation of style shifts within a single piece
• Harmonic complexity including jazz alterations and extensions
• Lyrical communication across multiple songs with different moods
• Ensemble balance when managing three-part SAB voicing across sustained and moving lines