Don't Blame It on Me: Choral SoundTrax CD

Jack Zaino's arrangement captures all the warmth and swagger of the original while building in structural variety that keeps both singers and audiences attentive. The male feature at the top gives guys a genuine moment in the spotlight, and the stacked harmonies that follow provide the kind of textural satisfaction that makes students want to nail their parts.

Playful and flirtatious, with the breezy charm of a New Orleans street party. The shuffle groove and big-band horns create an atmosphere that's fun without being frivolous, romantic without sentimentality.

This arrangement works for high school and adult choirs seeking contemporary material with genuine swagger and sophistication. Groups with reliable male singers will especially benefit from the opening feature, though the full ensemble sections are accessible to mixed choirs of intermediate skill.

• Lock the shuffle groove with the rhythm section on the SoundTrax; the pocket matters more than metronomic precision, so encourage singers to sit slightly behind the beat rather than rushing ahead.
• Shape the male feature with conversational ease during the opening, treating the lyrics as flirtation rather than formal delivery.
• Balance the call-and-response sections so the answering voices feel like a genuine response rather than an echo; this requires clear diction and precise cutoffs.
• Let the horns and bass on the accompaniment track set the energy level; singers should think of themselves as part of the band, not competing with it.

Pair this with other contemporary pop arrangements to create a concert section that demonstrates your choir's range beyond traditional classical or show music. Its uptempo energy and clean finish make it an excellent choice for concert closers or pops-style shows where you want the audience leaving with a smile.

• Rhythmic precision in shuffle grooves
• Call-and-response ensemble balance
• Stacked harmony tuning and blend
• Conversational diction in contemporary lyrics
• Rhythmic independence from accompaniment