From the Start: SSA Choral Octavo

Michele Weir's arrangement gives your singers a contemporary piece that feels fresh without sacrificing musicianship. The bossa nova groove, scat section, and optional solos create multiple entry points for different voice levels and confidence, while the tight harmonies reward careful listening and precise blend.

Smooth and unhurried, like sitting in a jazz club on a warm evening. The bossa nova rhythm keeps things gently swaying even as the harmonies shift and layer, and the scat passage gives the piece a playful, conversational moment that makes singers smile.

Choirs with intermediate to advanced SSA singers who are comfortable with jazz vocabulary and want to program something current and stylistically sophisticated. This works equally well for high school groups eager to showcase modern arranging and for community choirs seeking repertoire that feels contemporary without requiring extended vocal ranges.

• Study Laufey's original recording before rehearsal to absorb the smooth, conversational vocal delivery and the relaxed swing feel underneath the bossa nova rhythm.
• Balance the unison scat feature so it stays rhythmically locked with the accompaniment; this is where precision and relaxation must coexist.
• Feature your strongest singers on the optional solos, but rehearse them early so less-experienced singers hear exactly where the lines sit and how they fit the harmonic palette.
• Lean into the jazz aesthetic by encouraging singers to phrase across the bar lines and let syllables breathe rather than strictly marching to the downbeat.

Place this in a pop or jazz-focused set to show range and arranging intelligence, or pair it with other contemporary pieces to build a modern choral identity in your concert. It also works beautifully as a spring or pops concert centerpiece where style matters as much as vocal display.

• Jazz phrasing and interpretation across bar lines
• Rhythmic precision in scat singing and bossa nova accompaniment
• Blending tight harmonies with multiple voice parts moving independently
• Solo preparation and performance confidence within an ensemble context
• Listening and responding to contemporary vocal production choices