Happy Days Are Here Again / Get Happy: SAB Choral Octavo

Kern captures the exuberance of these two standards without overwhelming a developing SAB choir. The arrangement respects the iconic performances while creating genuine three-part writing that gives each voice line something to sing, and the pairing of these back-to-back hits keeps the energy infectious across the full four minutes.

The opening radiates optimism and nostalgic warmth, channeling the effervescent spirit of 1960s television performance. The transition into 'Get Happy' shifts the mood toward something bluesier and more soulful, inviting singers to connect with the longing beneath the upbeat tempo.

This octavo works well for choirs seeking accessible but spirited pop standards, particularly those interested in adding Glee-era repertoire or classic vocal duo arrangements to their catalog. SAB ensembles in grades 6 and up will find the writing well-suited to developing musicianship without requiring advanced vocal maturity.

• Build contrast between the two songs by treating the first as bright and straightforward, then adding interpretive flexibility in the second with slight rubato on key phrases to match the bluesy character of 'Get Happy.'
• Lock the rhythm section and pianist around the backbeat pulse; these songs swing, and a steady groove in the accompaniment will anchor your singers' natural instinct to drive forward.
• Shape the dynamic arc within each song rather than treating it as one flat energy level. Let the text paint the picture: the opening verse can sit lower before the full choir enters with real lift on the main hook.
• Use the recorded accompaniment in rehearsal to establish tempo and style first, then gradually have singers internalize the groove so they're not dependent on it come performance.

These two songs are ideal for a concert that celebrates classic American songwriting or for programming alongside other standards and pop revivals. The pairing also works as a natural closer to a first-half set, leaving audiences with forward momentum heading into intermission.

• Balancing blend across three parts while maintaining distinct voice independence
• Swing rhythm interpretation and groove singing
• Dynamic shaping and interpretive choices within short, repetitive structures
• Connecting lyrical storytelling to musical phrasing across two contrasting moods