Fascinating Rhythm (from Lady Be Good) (arr. Ed Lojeski): SAB Choral Octavo

Lojeski nails the rhythmic swagger of Gershwin's original without overcomplicating the voicing for a three-part ensemble. The arrangement keeps the syncopated drive front and center, making it a genuinely fun piece to rehearse and perform rather than a tamed-down version of a jazz standard.

The piece crackles with the syncopated energy Gershwin intended; even in a choral setting, that restless, footlight-ready vitality comes through. It's charming and swinging, built on rhythmic momentum rather than lush harmonies.

Choirs comfortable with jazz phrasing and moderate rhythmic independence will thrive with this arrangement. It works well for groups looking to program a recognizable standard that feels fresh and polished without requiring soloists or extensive staging.

• Anchor the rhythm section (piano and bass, if available) on the syncopated figures in the opening so the choir has a solid harmonic reference for lining up the offbeat entrances.
• Shape each phrase with forward momentum; resist the urge to break the groove when moving between sections.
• Isolate the soprano and alto lines during early rehearsals to lock the upper harmony, which carries much of the melodic interest over the SAB texture.

Pair this with other American songbook standards or vintage jazz-influenced repertoire for a concert exploring early twentieth-century popular song. It also makes a strong opener or closing number for a pop or jazz-focused concert, since the energy and recognition factor engage an audience immediately.

• Syncopated rhythm reading and execution in a choral context
• Swing phrasing and jazz articulation
• Maintaining groove while singing three-part harmony
• Balancing the melodic line across multiple voices in SAB voicing