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Get Happy: Choral Octavo SoundTrax CD

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Get Happy Cover Image

Get Happy: Choral Octavo SoundTrax CD

Words and music by Harold Arlen and Ted Koehler / arr. Philip Kern

Item: 00-35697

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Description
This was the first of many hits that Harold Arlen and Ted Koehler wrote together. It's most associated with Judy Garland, who performed "Get Happy" in her last MGM film Summer Stock. This incredible hot and jazzy arrangement really cooks from beginning to end! Featured on Showbiz! choral movement DVD (00-35858).

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Additional Details
Series: Alfred Pop Choral Series
Publisher: Alfred Music
UPC: 038081398938
SKU: 00-35697

More about this title

About the Composer: Harold Arlen

Harold Arlen (1905-1986) composed some of the most enduring melodies in American popular music, with a particular gift for theatrical jazz and dance numbers. His partnership with lyricist Ted Koehler in the late 1920s and early 1930s produced a string of hits that blended blues idioms, syncopated rhythms, and sophisticated harmonies. Arlen's versatility spanned Broadway, Hollywood film, and the Great American Songbook; his melodies remain central to the choral and jazz repertoire because they sit naturally in the voice while maintaining harmonic complexity and rhythmic vitality.

Why we love this

Philip Kern's arrangement captures the swagger and comedic energy of the original without sacrificing the tune's harmonic sophistication. The instrumentation and voicing choices make this a genuine crowd-pleaser that generates visible excitement in your singers and genuine entertainment for audiences. It's a standalone showstopper that proves jazz standards belong in every choir's rotation.

What to expect

Unbridled optimism and forward motion. The arrangement propels you from the first note with a hot, driving rhythm section and voices that snap and sparkle. It's the musical equivalent of a wink and a smile, energetic enough to lift an audience right out of their seats without ever feeling forced or campy.

Who it's for

Choirs with solid musicianship and comfort in jazz idioms. This works equally well for high school show choirs, college ensembles, and community groups looking for a contemporary-sounding piece with real song history. Singers need to understand swing feel and be willing to bring character and personality to the delivery.

How to get the most out of it

  • Nail the rhythmic precision in the ensemble sections. The arrangement cooks when voices lock into the jazz feel; use a crisp eighth-note subdivision in rehearsal and lean into swing phrasing rather than straight rhythms.
  • Balance solo and ensemble moments carefully. If the arrangement features a lead voice, that singer should sound confident and conversational, not operatic. The accompaniment should support without overwhelming.
  • Let the recorded accompaniment set the groove and energy level. Press play and sing through it multiple times to internalize the swing feel and tempo, then layer your singers into that pocket.
  • Pay attention to any text dynamics and articulation markings Kern included. Jazz arrangements often rely on staccatos, accents, and rhythmic punctuation to shape the groove; these details separate a spirited performance from a flat one.

How to use it

Close out a set or finale with this one. Its infectious groove and clear emotional arc make it an ideal concert closer or the featured number in a jazz-focused or American songbook program. The Showbiz! staging information means you can build choreography or movement that amplifies the performance energy.

Skills your students will build

  • Swing articulation and rhythmic feel (legit vs. syncopated phrasing)
  • Jazz harmony voicing and listening (hearing chord extensions and alterations)
  • Ensemble blend in rhythmic unison sections
  • Solo confidence and character work in lead passages
  • Coordination with rhythm section and accompaniment tracks

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