Fascinating Rhythm: SATB Choral Octavo

Mark Hayes's arrangement captures the kinetic energy that made "Fascinating Rhythm" a showstopper in 1924 and keeps it fresh across four decades of covers. The orchestral sophistication he brings to the choral parts (especially the rhythmic counterpoint and syncopated writing) rewards singers who commit to precision while staying grounded in the swing feel. Programming this after a more conservative standard gives your concert immediate momentum and reminds audiences why this song has never really gone out of style.

Infectious and restless. The piece lives in that exhilarating space between structure and swing, where nothing stays still for long. The Latin section brings a completely different flavor than the uptempo swing sections, yet Hayes knits them together as one argument. From the first measure, "Fascinating Rhythm" grabs attention and won't let go.

Advanced high school choirs and college-level ensembles with singers comfortable with syncopated rhythms and quick tempo changes. This arrangement demands solid sight-reading skills and a section that can balance ensemble sound while executing rhythmic independence. Singers who thrive on stylistic variety and upbeat energy will find this genuinely fun to perform.

• Lock the rhythmic precision in your rhythm section parts (if using instrumental accompaniment). The Latin and swing sections need unshakeable tempo foundation; any wavering destroys the arrangement's kinetic drive.
• Shape the syncopated lines with lift and articulation rather than heavy accent. Gershwin's rhythms dance best when singers treat them as melodic phrases, not percussion.
• Balance the harmonic texture across all four parts. Hayes's voicing is thick and full; make sure sopranos and tenors aren't drowning out the inner voices where much of the rhythmic momentum lives.
• Use the recorded accompaniment in rehearsal to internalize the specific groove and tempo inflection Hayes implies. This isn't a ballad; the accompaniment track will anchor your singers in the right energy.

Place this in the second half of a concert to energize an audience after a set of slower pieces or art songs. The 12-page length makes it substantial enough to anchor a programming moment without overwhelming the rest of your setlist. Pair it with other Gershwin repertoire or other American songbook standards for a thematic concert on American musical theater.

• Reading syncopated rhythms in swing and Latin styles
• Executing rhythmic independence while maintaining ensemble cohesion
• Balancing four-part harmony with emphasis on inner voices
• Singing with stylistic awareness across multiple genre contexts (Latin, swing, Broadway)
• Responding to tempo and groove cues from accompaniment