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

Jake Alexander's SAB arrangement captures the irresistible optimism of this modern standard while remaining genuinely singable for mixed choirs at all levels. The voicing breathes space into the harmony, letting the melody shine without burying your singers in complex counterpoint, and the feel translates beautifully whether you're building ensemble cohesion or preparing for a pops concert.

Pure affirmation. The tune bubbles with gentle confidence and warmth, inviting singers to lean into optimism without demanding drama or vocal gymnastics. There's a lightness here that feels refreshing alongside more traditional choral fare.

Choirs looking for contemporary repertoire that bridges pop sensibility and legitimate musical craft. This arrangement works beautifully for groups that want to engage audiences with recognizable material while building real singing skills and ensemble precision.

• Anchor the rhythmic groove from measure one. This tune lives in the pocket, so invest rehearsal time in locking the pulse before worrying about dynamics or expression.
• Balance the altos carefully in the harmony sections. They carry supporting lines that define the song's harmonic color, and they need enough projection to be heard without overpowering the sopranos.
• Shape the phrase arcs in your upper voices with legit jazz phrasing in mind. Slight rubato and breath placement can suggest swing feel even if you're not technically swinging the eighths.
• Let the text propel the storytelling. The words themselves carry the joy and warmth that make this song infectious, so encourage singers to feel the meaning of each phrase.

This fits naturally into a pops or secular concert, and it pairs well with other contemporary standards or jazz-inflected arrangements. Consider programming it as a set closer when you want to send audiences out smiling, or as a mood-lifter in the middle of a concert that includes heavier material.

• Rhythmic precision in swing-influenced style
• Balancing homophonic texture across three parts
• Jazz phrasing and interpretive flexibility
• Singing contemporary repertoire with stylistic authenticity