Fascinating Rhythm: TTBB Choral Octavo

Mark Hayes's arrangement captures the infectious energy of the original while giving TTBB singers distinct material to chew on. The mix of Latin rhythm and swing styles keeps every section engaged, and the twelve pages are packed with genuine musical substance rather than padding, making this a piece that rehearses well and performs with confidence.

Bright, propulsive, and groove-driven from the opening downbeat. The piece channels the energy of a Gershwin-era jazz club, complete with the rhythmic sophistication and melodic charm that made the original a Broadway sensation. Singers feel the style shift between Latin and swing sections as if moving between different moments of the same exciting evening.

TTBB choirs looking for a showstopper with real musical substance. This arrangement works equally well for high school ensembles with solid reading skills and college or adult choirs seeking an accessible but stylistically rich selection that audiences love.

• Establish the rhythmic pocket early in rehearsal. The Latin sections and swing figures demand precision, so lock the foundational pulse before layering in the harmonic and melodic details.
• Balance the texture so that section lines remain clear even when parts move quickly. This arrangement asks a lot rhythmically, so voicing clarity will prevent muddiness.
• Lean into the style shifts. The contrast between Latin and swing isn't incidental; it's the arrangement's core appeal. Let those moments breathe and sound intentional.
• Use the recorded accompaniment to internalize the grooves, especially if your singers are less experienced with jazz inflection and rhythmic syncopation.

Place this mid-program or as a closer to lighten the mood after a heavier set. Its broad appeal and infectious rhythm make it an excellent bridge between classical and contemporary programming, and the strong recorded accompaniment option means you can program it even in venues where a full rhythm section isn't feasible.

• Syncopated rhythm reading (eighth-note syncopation and swing figures)
• Style awareness (distinguishing Latin and swing idioms within a single piece)
• Jazz harmonic language (tritones, secondary dominants, blues inflections)
• Rhythmic independence (maintaining part integrity amid active rhythmic figuration in other voices)
• Expressive phrasing in a secular/popular music context