Feeling Good (arr. Alan Billingsley) Sheet Music Preview

Feeling Good (arr. Alan Billingsley): SAB Choral Octavo

As performed by Leslie Bricusse and Anthony Newley / Arranged by Alan Billingsley

Item: 35-DS00138653

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Additional Details
Publisher: Hal Leonard
Page Count: 10
SKU: 35-DS00138653

More about this title

About the Artist: Leslie Bricusse and Anthony Newley

Leslie Bricusse and Anthony Newley wrote "Feeling Good" for the 1965 musical "The Roar of the Greasepaint, the Smell of the Crowd." Bricusse, a British lyricist and composer, and Newley, an actor and songwriter, created a song that transcended its theatrical origins to become a standard recorded by everyone from Nina Simone to Michael Bublé. Their gift for crafting memorable melodies with sophisticated harmonic underpinnings made this tune endure across genres and generations.

The song's combination of accessible melody and jazz sensibility reflects the composers' ability to write material that works equally well in a theater pit or a concert hall. For music educators, their work demonstrates how a strong song can serve multiple musical contexts while maintaining artistic integrity.

Why we love this

Alan Billingsley's arrangement captures the sophisticated ease of this jazz standard while keeping it fully accessible for SAB ensembles. The voicing sits naturally in each part, allowing singers to focus on style and phrasing rather than technical survival. Programming this gives your choir a show-stopping opener or closer that feels polished and contemporary without requiring soloists or additional instrumentation.

What to expect

Sophisticated warmth. The song radiates optimism and style, with enough harmonic color to feel jazz-inflected but enough melodic clarity that audiences connect immediately. Singers experience the satisfaction of delivering a song that sounds completely polished while the arrangement supports rather than burdens them.

Who it's for

Choirs seeking a reliable concert piece that feels contemporary and engaging without extreme difficulty. This works for upper-level high school groups, community choirs, and college ensembles performing light concert or jazz-influenced programs.

How to get the most out of it

  • Shape the melody with intentional rubato in the opening phrase; let the singers breathe where the lyric naturally wants to land rather than forcing rigid rhythmic precision.
  • Balance the SAB lines so the soprano carries the tune clearly while alto and bass provide rhythmic and harmonic support without muddying the texture.
  • Lean into the jazz vernacular with slightly laid-back eighth notes and a conversational tone; this isn't a classical ballad.
  • Layer in dynamic contrast between sections to sustain interest across the arrangement's ten pages.

How to use it

Place this as an opening number to set a contemporary, accessible tone for a concert. It also pairs beautifully with other standards or contemporary pop arrangements, giving your program cohesion without monotony. Its ten pages make it manageable in a packed concert while providing substantial musical substance.

Skills your students will build

  • Jazz phrasing and interpretation
  • Stylistic flexibility within SAB voicing
  • Balancing melody and supporting harmony
  • Musical maturity in a classic standard

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