Don't Blame It on Me: Choral Octavo SoundPax

Jack Zaino's arrangement captures the infectious energy of the original while giving your choir genuine personality to work with. The built-in feature for lower voices breaks up the texture immediately, and the mix of call-and-response with stacked harmonies keeps everyone engaged without overwhelming less experienced singers.

Breezy and flirtatious, with the warmth of a New Orleans jazz club filtered through modern pop sensibility. The piece bounces along with genuine charm, never feeling overly slick or forced, and the big-band horns and thumping bass create an energetic backdrop that lifts the whole arrangement.

This arrangement suits choirs with solid pop music experience and comfortable singing in a contemporary groove. It works best for ensembles that can balance fun and musicality, and singers who respond well to recorded accompaniment.

• Shape the opening men's feature with confidence and rhythmic clarity; this sets the flirtatious tone for the entire piece.
• Balance the call-and-response sections so both groups cut through without either becoming buried.
• Lean into the New Orleans shuffle groove throughout; let the rhythm section (SoundTrax) lock in with your ensemble rather than fighting against it.
• Pay close attention to the stacked harmonies during the full ensemble sections to ensure each voice part remains distinct and in tune.

This pairs beautifully alongside other contemporary pop arrangements in a spring or end-of-year concert, or as a lighter counterpoint to more classical choral fare. The upbeat character and recorded accompaniment make it ideal for concerts where you want to showcase your choir's ability to move between genres.

• Singing over a shuffle groove and syncopated rhythms
• Blending stacked harmonies while maintaining distinct voice parts
• Call-and-response phrasing and ensemble coordination
• Stylistic interpretation of pop and jazz idioms
• Singing effectively with recorded accompaniment