Feeling Good (arr. Craig McLeish): SAATB Choral Octavo

Craig McLeish's arrangement captures the essence of Simone's performance while making the piece accessible for SAATB ensembles without compromising its emotional impact. The five pages offer enough musical substance to develop real interpretive choices around phrasing and dynamics, while the familiar melody and harmonies keep rehearsal time focused on execution rather than learning notes. This is the kind of arrangement that reminds students why they joined choir in the first place.

Optimistic and affirming, with an undercurrent of jazz sensibility that keeps the piece from landing in pure sentimentality. McLeish's voicing has warmth and harmonic richness that invites singers to discover nuance in what is ultimately a straightforward, uplifting message.

This arrangement works well for intermediate to advanced high school choirs and community ensembles looking to program contemporary popular music with vocal sophistication. Directors who want to include Simone's legacy in their season without overextending their rehearsal schedule will find this five page octavo both musically rewarding and logistically practical.

• Approach the opening phrase with a conversational tone rather than vocal announcement. The text should feel like personal reflection, not proclamation.
• Balance the soprano line against the supporting voices; McLeish's voicing should enhance rather than overshadow the melody.
• Pay attention to how dynamics shape the arc of the piece. Small shifts between stanzas prevent the performance from flattening into one emotional register.
• Blend vowels across the chord to create a unified harmonic color, especially in the sustained passages that anchor each phrase.

Consider placing this in a concert that explores how vernacular music can carry the same emotional intelligence as classical repertoire. It pairs naturally with other standards or contemporary pieces that value lyrical singing and clear text communication. The piece also serves well as an accessible entry point into jazz harmony for ensembles still building their foundation in chromatic voicing.

• Sustaining long phrases with consistent breath support and line
• Blending voice parts in jazz-inflected harmony
• Balancing melody projection with harmonic integration
• Interpreting pop repertoire with vocal warmth and intentionality