Fascinating Rhythm: SSA Choral Octavo

Mark Hayes's arrangement captures the essential DNA of this Gershwin standard while giving SSA groups genuine rhythmic and harmonic interest. The blend of Latin and swing idioms keeps the arrangement fresh and engaging for singers and audiences alike, and at 12 pages, it's substantial enough to feel rewarding without becoming unwieldy.

Sleek, propulsive, and fun. The piece radiates the energy of a 1920s Broadway showstopper while staying grounded in the voice-friendly tessituras Hayes has crafted. Singers feel the swing and Latin grooves rather than struggling against them.

SSA choirs looking for an arrangement that treats their voices seriously without demanding soprano-stratosphere writing. This works equally well for high school show choirs, college treble ensembles, and community groups comfortable with jazz-influenced harmonic language and rhythmic independence.

• Nail the rhythmic precision in the Latin sections. These grooves fall apart if they're approximate; drill the syncopation across all three parts separately, then blend.
• Balance the swing sections so the melody sings over clear but unobtrusive harmonic support. The rhythm section parts (available separately) anchor the groove, so trust them.
• Shape the dynamic arc across the full arrangement. With multiple style shifts, singers can lose sight of the larger phrase. Mark rehearsal points that show where tension builds and releases.
• Use the recorded accompaniment to lock tempos and feel, especially where style changes. Hearing the swing pocket or Latin clave before rehearsal solves timing problems fast.

Program this on a concert celebrating American standards or the Great American Songbook. It pairs naturally with other Gershwin works or with mid-century vocal jazz arrangements, and its energy makes it an excellent closer or a strong second-half opener that resets audience attention.

• Swing rhythms and articulation
• Latin syncopation and clave patterns
• Rhythmic independence across three parts
• Jazz harmonic vocabulary (especially secondary dominants and chromatic voice leading)
• Style-switching and textural contrast within a single piece