Fascinating Rhythm: SAB Choral Octavo

Mark Hayes strips away nothing essential in this arrangement; instead, he deepens the rhythmic vitality and gives SAB singers genuine textural interest without requiring advanced vocal gymnastics. The piece moves between Latin and swing feels naturally enough that your singers will grasp idiomatic differences through singing them, not discussing them. It's the kind of standard that works equally well at a concert, a competition, or a community event because the energy is built into the music itself.

Restless energy meets craft. The opening rhythmic figure burrows into your brain immediately; once the Latin section settles, you feel the groove pulling your body forward. When the swing section arrives, the piece opens up—suddenly there's room to swing, to play with the timing, to let personality show through.

Choirs comfortable with rhythmic precision and syncopation. SAB voicing makes this accessible to developing and community ensembles while retaining enough sophistication to keep experienced singers engaged. This works for high school through adult choirs seeking a standard that feels fresh rather than tired.

• Keep the Latin rhythms crisp and precise in the opening section; the contrast with the looser swing feel that follows depends on rhythmic clarity early on.
• Shape the solos to feel conversational rather than precious. This is a number written for Broadway singers, not art song performers.
• Lock the rhythm section (piano, drums if available) so the choir can sit on the groove. Your singers will lock in harder if the accompaniment feels anchored.
• Pay attention to the dynamic range Mark has written. The style invites bright, full sound, but the octavo includes softer moments that let the melody breathe.

Program this alongside other Gershwin material or other mid-century popular standards to build a set that teaches idiom through context. The piece also works as a concert opener or closer since it leaves audiences energized. If you're preparing for festival or competition, the recorded accompaniment and optional instrumental parts make this flexible for different performance scenarios.

• Reading and performing Latin rhythms (clave-influenced figures)
• Swing articulation and phrasing
• Syncopation across bar lines
• Voice leading in SAB voicing with jazz harmonies
• Sectional independence while maintaining ensemble unity
• Stylistic distinction between rhythmic feels in a single piece