Feeling Good (arr. Roger Emerson): TB Choral Octavo

Roger Emerson's arrangement captures the sophisticated ease of the original without overshooting into jazz complexity that overwhelms developing singers. The piece balances genuine style cues (swing rhythms, jazz harmonies) with accessibility, making it a rare find for directors seeking repertoire that sounds polished but remains teachable.

Warm, confident, and subtly swinging. There's an understated elegance here; the arrangement invites singers into a moment of quiet optimism rather than demanding they announce it. The longer you sit with it, the more the harmonic sophistication reveals itself.

Intermediate to advanced mixed choirs ready to tackle jazz idioms with genuine style. Your choir should have solid sight-reading skills and comfort with swing rhythms to make the arrangement's sophistication land.

• Shape the melody with the same conversational ease Simone brought to the original; think intimate and knowing rather than belted or aggressive.
• Lock the rhythm section into a light swing feel from the first rehearsal to establish the groove's pocket early.
• Pay attention to how Emerson voices the jazz chords; they're built to sparkle, so ensemble blend on sustained harmonic moments matters as much as forward motion.
• Use the recorded accompaniment to anchor your section leaders during early rehearsals, then gradually pull away from it so singers own their independence.

Reserve this for a program where you want to shift energy without losing credibility. It works beautifully as a closing selection or as the centerpiece of a jazz-influenced concert half, and it pairs naturally with other sophisticated pop standards.

• Swing rhythmic interpretation and feel
• Jazz harmonic listening and blend
• Legit vocal tone control in a jazz context
• Rhythmic independence within an ensemble