For All We Know: SATB Choral Octavo

Peter Eldridge and Darmon Meader have transformed this standard into a showcase for contemporary vocal jazz arranging. The writing sits perfectly for mature high school and college choirs, demanding sophisticated voicing work and ensemble blend while remaining musically rewarding rather than technically punitive. The piano part commands equal attention, making this a genuine collaboration between singers and accompanist rather than a vehicle that buries either one.

The arrangement unfolds with intimate restraint, the way a jazz vocalist might tell a story in a room full of people leaning in to listen. The piano writing is lush without being sentimental, and the voices move with the ease of singers who know the harmonic language so well they can play inside it. There's a wistfulness to the piece that never tips into sentimentality; instead it feels like remembrance spoken with quiet confidence.

This octavo belongs in the folders of accomplished SATB choirs with strong jazz literacy and secure intonation skills. High school and college ensembles with rehearsal time to invest in contemporary vocal arranging will find genuine musical substance here. It is not a piece for developing groups or as an entry point into jazz repertoire; it assumes singers already understand blend, balance, and stylistic flexibility.

• Balance the jazz harmonies by listening vertically through the chord changes; the chromatic movement in the accompaniment should guide your tuning, not trap it into diatonic habits.
• Shape phrases as a vocalist would, not as a section. The contemporary writing benefits from individual breath control and expressive nuance rather than bloc choral weight.
• Let the piano lead in rehearsal. Eldridge and Meader have written an accompaniment that teaches the harmonic language; follow it closely before you pull away.
• Commit to stillness on stage. This arrangement rewards quiet intensity and focus; unnecessary movement contradicts the song's emotional trajectory.

This works beautifully as a centerpiece for a concert exploring American song standards through contemporary eyes, paired alongside other Eldridge and Meader arrangements or classic jazz compositions. It also functions as a conversation piece between classical and popular traditions, making it ideal for mixed-genre concerts or festival programming where you want to demonstrate choir versatility. Consider it for spring concerts where intimate, emotionally mature repertoire can anchor a stronger statement than the season's novelty pieces.

• Jazz harmonic awareness and listening (seventh chords, chromatic voice leading, extended harmonies)
• Phrase shaping and expressive phrasing independent of section weight
• Intonation across contemporary harmonic systems
• Stylistic flexibility and appropriate vibrato control in jazz contexts
• Collaboration with accompanist through detailed harmonic partnership