Feeling Good (arr. Jake Alexander): SAA Choral Octavo

Jake Alexander's arrangement captures the infectious optimism and rhythmic vitality of this jazz standard in a voicing that sits naturally for women's voices. The piece gives singers genuine jazz vocabulary to work with rather than just singing over jazz chords, and it programs beautifully when you need something contemporary, accessible, and unquestionably joyful.

Warm, buoyant, and alive. The arrangement radiates optimism without sentimentality, with enough rhythmic sophistication to keep singers engaged and plenty of space for the words to land clearly. There's a sense of celebration throughout that invites audiences into the singers' genuine enthusiasm.

Choirs at the middle school through adult level who are ready to tackle jazz idiom with confidence. This works especially well for groups building their contemporary and popular music repertoire or looking to expand beyond show choir into jazz vocal performance.

• Lock the swing feel early in rehearsals. Even if your singers haven't performed jazz before, establishing that triplet-based rhythmic pocket will transform how the arrangement lands.
• Balance the soloists and section voices intentionally. This arrangement likely features moments where individual singers carry the melody, so designate your best readers for those passages and have the sections support them cleanly.
• Treat the dynamics as part of the jazz character. Subtlety and restraint in the verses will make the fuller moments feel genuinely earned rather than constant shouting.

Pair this with other uplifting contemporary pieces for a program section that spotlights joy and resilience, or use it as a statement opener that immediately establishes an energetic, modern concert identity. It also serves as an excellent teaching tool when you're introducing your ensemble to jazz repertoire and style conventions.

• Swing feel and jazz rhythmic conventions (triplet interpretation, phrasing in jazz contexts)
• Reading and executing jazz articulation and style markings
• Balancing solo and ensemble voices within jazz arrangements
• Intonation in contemporary harmonic contexts with extended chords