Hooked On A Feeling (arr. Jon Nicholas): SSAA Choral Octavo

Jon Nicholas's arrangement captures the irresistible bounce of this 1970s favorite while setting it within the SSAA voicing your singers can sink their teeth into. The barbershop treatment brings out unexpected harmonic richness without sacrificing the song's inherent fun, making it a genuine crowd pleaser that doesn't require your ensemble to abandon their musicianship. This is the kind of piece that reminds audiences why they love singing groups in the first place.

Buoyant and propulsive, the piece never loses sight of its radio origins while exploring the richer harmonic world that a skilled vocal arrangement can open up. The barbershop influences add swagger and warmth without making the song feel retrospective or novelty driven. From the first phrase forward, the energy feels earned rather than forced.

Directors programming concert pops or secular entertainment sets will find this arrangement exactly where they need it. Your singers benefit from learning how harmonic sophistication can coexist with pure enjoyment, and audiences respond immediately to the song's infectious familiarity.

• Nail the rhythmic precision in the opening phrases; this song thrives on locked-in ensemble confidence rather than interpretive flexibility.
• Emphasize the call and response moments between sections to highlight the vocal interplay that makes the arrangement sparkle.
• Balance the bass line so it supports without overpowering; the foundation keeps the groove honest but shouldn't bulldoze the upper voices.
• Let the text setting guide your phrasing rather than fighting against it; the words land naturally when you trust Nicholas's rhythmic choices.

Reserve this for the moment in your concert when the audience needs a lift, whether as a closing number in a lighter set or as the perfect palate cleanser between heavier repertoire. It works beautifully alongside other pop arrangements from the same era or as a contrast piece in a mixed program that spans multiple genres. The eight pages move quickly, making it manageable for groups working within time constraints.

• Singing syncopated rhythmic figures
• Balancing harmonic blend within barbershop voicing
• Executing rhythmic unison passages and section coordination
• Interpreting swing rhythm and groove placement
• Managing text clarity while maintaining musical line