Feelin' Good (arr. Jon Conway): SATB Choral Octavo

Jon Conway's arrangement captures the sly confidence of Simone's original while giving your choir room to shape the phrasing and dynamics. The accessibility of the voicing makes it achievable for intermediate ensembles, yet the arrangement respects the song's intelligence; this doesn't dumb down the material for four-part harmony.

Coolly confident and slightly ironic. The melody sits easy in the voice while the harmonies add subtle color and warmth. There's a conversational quality to the phrasing that invites listeners in rather than demanding their attention.

Intermediate to advanced SATB choirs ready to tackle a pop standard with sophistication. This works for groups with some jazz or soul experience, though it's straightforward enough for a skilled concert choir looking to expand beyond traditional classical fare.

• Resist pushing the tempo. The song's power lives in the space between words and the weight of sustained notes; rushing it strips away the swagger.
• Balance the bass line carefully so the harmonic movement stays audible. Conway likely wrote interesting things underneath that top melody, and they deserve to be heard.
• Shape phrases by ear rather than by bar line. Simone's phrasing rarely lands where you'd expect it to, and that's precisely what makes the arrangement worth singing.

Pair this with other Simone material or arrange it alongside contemporary pop selections for a program that shows your choir's range. It also serves as a gateway piece for ensembles moving into jazz and soul repertoire for the first time, offering a recognizable entry point without sacrificing artistry.

• Phrasing with jazz and pop sensibilities
• Subtle dynamic shaping over longer phrases
• Hearing and balancing four-part harmonic color
• Stylistic authenticity in non-classical music
• Rhythmic flexibility and expressive timing