Come Rain or Come Shine: SoundTrax Digital Audio Download

Jay Althouse's arrangement captures the sophistication of this Arlen standard while keeping it accessible for high school and community ensembles. The piece sits comfortably in the pop choral idiom without oversimplifying the song's jazz harmonies, giving singers something musically substantial to sink their teeth into. It's a legitimate addition to the Great American Songbook repertoire that actually sounds like jazz, not a watered-down approximation.

Sophisticated and warm, with the kind of musical confidence that comes from a well-crafted song in the hands of a skilled arranger. The piece has an intimate quality despite its ensemble setting, inviting singers to invest in the text and the subtle shifts of harmony that give Arlen's melody its emotional weight. It feels like stepping into a jazz club, not a concert hall.

This arrangement works for choirs that can handle jazz vocabulary and want to program legitimate standards without stepping into big-band or full orchestral territory. It's ideal for groups ranging from high school show choirs to adult community ensembles and serves as an excellent bridge for singers curious about how jazz harmony actually sounds in a choral setting.

• Let the recorded accompaniment set your tempo and groove; this arrangement assumes a specific rhythmic pocket, and locking into it early will save rehearsal time and allow singers to focus on blend and balance.
• Balance the melody across sections so it doesn't rest entirely with one voice part; check your score to see where Althouse has distributed the tune, then mark those spots in parts so everyone knows they're carrying something essential.
• Attend to the lyrical quality of the text, especially on phrases like the title itself; this is a ballad disguised as a jazz number, and singers should shape phrases like they're telling a story, not reciting rhythm.
• Use your instrumental parts (if performing with them) to anchor harmonic clarity; the rhythm section will help soloists or small vocal groups lock into the jazz feel without sacrificing tuning.

Slot this into a concert that celebrates American songwriting or jazz in choral music, pairing it with other Althouse arrangements or works that explore similar territory. It works equally well as a standalone feature or as part of a set highlighting Great American Songbook repertoire. The piece is substantial enough to anchor a program segment but light enough rhythmically that it won't fatigue singers if programmed mid-concert.

• Reading and sustaining jazz harmonies in four-part voicing
• Interpreting swing eighth notes and jazz articulation in choral context
• Balancing melody and harmony across multiple voice parts
• Shaping lyrical phrases with jazz diction and phrasing conventions