Feeling Good (arr. Roger Emerson): 2-Part Choral Octavo

Emerson captures the swinging ease of this jazz standard while keeping the voicing lean enough for developing singers to own the groove. The arrangement respects the song's built-in sophistication without burying younger or less experienced choirs in complex harmony, making it ideal for groups ready to explore jazz repertoire but not yet equipped for denser textures.

The piece radiates optimism and ease. There's a lightness to singing it, a sense of celebration without sentimentality. The 2-part texture creates intimacy while the jazz harmonies add sophistication, giving singers the experience of making something contemporary and stylish sound effortless.

This arrangement works beautifully for choirs with 1-2 years of experience who are developing confidence in jazz and pop styles. It also serves intermediate or advanced choirs looking for an accessible opener or closer that audiences recognize immediately.

• Let the rhythm section (if using an accompaniment track) establish the pocket first; have singers lock into that groove rather than singing metronomically. The swing feel lives in the space between the written note and when you actually sing it.
• Sing through the melody line a cappella in rehearsal to ensure every singer owns the contour and text independently. This builds confidence and prevents the harmony from masking uncertain singers.
• Balance brightness in the upper part with warmth in the lower part. A 2-part arrangement asks for color contrast between the lines, not blend.
• Pay attention to the lyrical phrasing and let that guide your breath placement rather than resting at every barline. "Feeling Good" breathes in longer phrases.

Open a spring concert with this to set an upbeat tone that audiences instantly connect with, or close a program on a note of joy and simplicity after heavier repertoire. It also works as a solid opener for a casual cabaret or jazz showcase, giving singers a confidence builder before more demanding material.

• Singing jazz inflection and swing feel
• Maintaining independent melodic lines in 2-part texture
• Responding to the groove and pocket of a recorded accompaniment
• Phrasing lyrics with conversational naturalness rather than classical diction