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

Alan Billingsley's arrangement captures the song's inherent swagger while opening it up for male voices without losing the tune's infectious optimism. The voicing exploits TTBB colors to create movement and texture, transforming a cabaret standard into ensemble music that feels both contemporary and timeless. Men's choirs rarely get material this fun that also has genuine sophistication.

Effervescent and propulsive, with the polish of a well-crafted jazz arrangement. The harmonies sparkle without ever feeling cluttered, and the melody carries an intrinsic lightness that makes the piece feel both uplifting and relaxed, as though the singers are inviting the audience into something joyful rather than performing at them.

TTBB choirs with at least some jazz sensibility and solid ensemble blend. The piece works for concert choirs wanting to include a contemporary standard, community choirs seeking accessible but sophisticated repertoire, and men's groups looking for material that showcases their versatility beyond traditional classical fare.

• Nail the rhythmic precision in the early sections. This piece sits in jazz language, so straight eighths and clean articulation define the style before you consider swing or interpretation.
• Balance the melody across the tenor line while keeping the harmonies proportional. A lead tenor who dominates will bury the lush voicings Billingsley has written underneath.
• Lean into the bright, confident character. The lyrics celebrate optimism and vitality, so energy and forward motion matter more than introspection.

Pair this with other Broadway standards or mid century popular songs for a concert that bridges musical theater and jazz. It also serves as an excellent closer to a formal program, leaving audiences smiling without sacrificing musical substance. Consider programming it alongside spirituals or classical pieces to demonstrate the breadth of material your ensemble commands.

• Singing with jazz phrasing and swing feel
• Balancing melodic prominence with harmonic texture in four part writing
• Achieving rhythmic precision in syncopated passages
• Connecting theatrical expression to choral ensemble singing
• Blending multiple vocal lines while maintaining individual line independence