Don't Get Around Much Anymore: SATB Choral Octavo

Althouse's treatment preserves the swing and charm of Ellington's original while making it genuinely singable for mixed choirs without requiring jazz training. The scat syllables add character and fun without pushing into improvisation, giving students an authentic taste of jazz phrasing in a controlled, learnable context. When paired with the optional SoundPax instrumental parts, this becomes a small-ensemble statement that feels like a real jazz combo performance.

Casual elegance. The piece has the ease and sophistication of a small jazz combo playing a favorite standard, with enough swing to feel contemporary and enough charm to feel timeless. There's a conversational quality to the voice writing that makes singers feel like they're in on something fun rather than working through a technical exercise.

Mixed choirs seeking accessible jazz repertoire that doesn't require singers to improvise or have prior jazz experience. Intermediate to advanced choirs will find it engaging; less experienced singers can focus on clean voice leading while still capturing authentic jazz character.

• Establish a light, relaxed swing feel in the opening rehearsals rather than over-articulating. Let the rhythm section parts (when added) anchor the groove while voices settle into a conversational tone.
• Shape the scat syllables with consistent vowel colors across the section. These aren't comedic exaggerations; they're part of the jazz vocabulary and deserve the same attention as sung text.
• Balance the choral parts with any added horns by rehearsing them together early. The arrangement is designed so voices and instruments complement rather than compete.
• Keep tempo steady but relaxed. This piece swings best when it feels unhurried, even if the subdivisions are moving.

This works beautifully in a pops or jazz-themed concert, where it can anchor a set of standard arrangements or serve as a lighter interlude between more substantial pieces. It's also ideal for spring concerts or end-of-year performances, where singers and audience alike appreciate both the musical substance and the approachable joy of the material.

• Jazz phrasing and swing articulation in a choral context
• Reading and performing scat syllables
• Balancing choral blend with rhythmic precision
• Listening and blend when singing with instrumental ensemble parts