Handful of Keys: Choral Octavo SoundTrax CD

Larry Shackley's arrangement captures the swagger and sophistication of Waller's original without diluting what makes the song irresistible. The four-hand piano writing gives your accompanists genuine musical material to sink their teeth into, and the SoundTrax option means you're never locked into needing two skilled pianists on performance day. This is a showstopper that actually works in a choir setting.

Swinging, urbane, and unapologetically fun. The melodic line sits perfectly in the voice, and Waller's lyrics sparkle with personality and humor. There's a sophistication to the harmonic language that keeps this from feeling like simple pop arranging; this is genuinely jazz writing that happens to work for choir.

Choirs that want to add genuine jazz and theater repertoire to their concerts without sacrificing musical substance. This works for high school and college ensembles with solid musicianship and clear diction. Directors looking for something with personality and teachable moments around rhythmic precision will find real value here.

• Let the rhythmic precision of the piano accompaniment anchor your singers' phrasing. Waller's music lives in the pocket, and the choral line needs to respect that groove rather than float above it.
• Shape the lyrics with the clarity they deserve. The wit in Waller's words disappears if diction becomes sloppy; commit to clean consonants and well-placed vowels.
• If using live pianists, rehearse them as soloists in their own right during the four-hand passages. This arrangement gives them moments to shine, and the choir benefits when the accompaniment has real authority.
• Balance ensemble singing with moments where individual voices emerge. Waller's arrangements often feature solo or small-group moments; find those opportunities in the choral texture and don't bury them in full voice.

Perfect for a second-half opener or a closer when you want to send the audience out with energy and style. Pair it with other Broadway or American songbook material, or use it as a palate cleanser between heavier classical or contemporary pieces. This also works beautifully as an ensemble finale if you're programming a concert around jazz or theater history.

• Swing rhythm and jazz articulation (triplet-based feel and syncopation)
• Lyrical clarity and comedic timing with advanced diction demands
• Ensemble listening to a rhythmically independent piano accompaniment
• Blues-based harmonic language and harmonic movement in four-part writing