Don't Get Around Much Anymore: SAB Choral Octavo

Althouse understands what makes a jazz standard work in a choral setting. The arrangement respects the swing groove and style of Ellington's classic while building in accessibility through clean voice leading, making it achievable for developing choirs without sacrificing the authentic sound. The inclusion of optional instrumental parts transforms this from a vocal number into a genuine small combo experience.

Breezy and sophisticated, like an evening at a small jazz club where the mood is warm and the energy effortless. The melody sits naturally in the voice, and the scat touches add playfulness without requiring technical gymnastics.

This arrangement works beautifully for secondary choirs, show choirs, and adult community ensembles looking to add a swinging standard to their repertoire. Any choir comfortable with contemporary phrasing and light jazz inflection will find the voice leading and modest demands very singable.

• Let the rhythm lightly pulse underneath the melody. The swing feel depends on the accompaniment sitting in the pocket rather than pushing, so shape phrases around the groove's natural breathing spots.
• Approach the scat syllables as conversational additions to the melody, not as technical display. Singers should treat them the same way they would sing a lyric: connected, relaxed, and with musical intention.
• If using the SoundPax horn and rhythm parts, rehearse the choir first without them to lock the melody and voicing. Layer in the instruments only after singers are secure and comfortable with their parts.
• Balance the parts so the soprano carries the primary melody clearly while alto and baritone support without overwhelming. In jazz arrangements, clarity of line is more important than fullness of sound.

Use this as a bridge between traditional choral literature and contemporary styles, or pair it with other Ellington standards for a jazz-focused concert segment. The 12-page length makes it a solid standalone number for a concert set or a strong opening that signals a stylistic shift in your program.

• Reading and performing swing rhythm and jazz articulation
• Balancing melody and harmony in a contemporary idiom
• Coordinating with instrumental accompaniment
• Singing scat syllables with rhythmic accuracy and vocal control
• Interpreting style markers beyond straight classical phrasing