Don't Blame It on Me: SAB Choral Octavo

Jack Zaino's arrangement captures everything that makes this tune irresistible: the infectious New Orleans shuffle groove, the flirty testosterone moment for the guys section, and the layered harmonies that let voices weave together without overwhelming the melody. It's the kind of contemporary pop arrangement that keeps singers engaged because they actually know and love the song, while the big-band styling gives it sophistication beyond typical pop repertoire.

Warm and playful, like a conversation about love caught in mid-laugh. The New Orleans shuffle gives it swagger and groove while the bright arrangement keeps everything light and approachable. Singing this feels like being part of an insider's joke rather than performing something heavy or serious.

Choirs seeking contemporary pop literature that feels current and fun without sacrificing musical substance. This works equally well for middle school and high school groups comfortable with 3-part mixed voicing and looking to program something their singers genuinely want to sing.

• Lock the rhythm section into the shuffle groove from the downbeat. The bass and horns on the SoundTrax establish the pocket immediately, so have your singers follow that groove rather than fighting against it.
• Bring out the call-and-response sections with clear, snappy articulation. These moments thrive on rhythmic precision and playful energy, not legit singing.
• Balance the stacked harmonies carefully during full-voice sections so the sopranos' melody stays visible without drowning out the altos and baritones. This is where blend matters most.
• Let the guys' feature at the opening establish the flirty character of the whole piece. That solo moment sets the emotional tone for everything that follows.

Program this in a pop or contemporary music set where it can anchor a lighter segment of your concert. It pairs well with other Bublé arrangements or upbeat secular pieces, and works especially effectively as a crowd-pleaser before intermission or as a closing number that sends the audience out smiling.

• Singing shuffle rhythms with consistent pocket and swing feel
• Balancing melody against stacked harmonic layers
• Call-and-response execution with rhythmic clarity
• Part independence in 3-part mixed voicing
• Blues-influenced style and articulation