How High the Moon: SSA Choral Octavo

Jay Althouse's samba recontextualization transforms a bebop fixture into something rhythmically fresh without losing the tune's harmonic sophistication. The scat section gives singers a chance to improvise within a fully written arrangement, making this approachable for groups new to vocal jazz while staying musically satisfying for experienced ensembles.

Bright, propulsive, and playful. The samba rhythm drives underneath tight three-part harmonies that shift quickly and unexpectedly, while the scat section invites singers to swing with joy. It's a piece that radiates ensemble confidence and rhythmic precision.

SSA choirs looking to program accessible jazz repertoire that doesn't require singers to read complex jazz notation or have improvisation experience. This works well for middle school through adult choirs seeking contemporary popular repertoire with Latin groove and vocal humor.

• Establish the samba groove early in rehearsals by having the group snap or clap the clave pattern independently before layering melody and harmony.
• Shape the scat section with clear articulation and rhythmic precision; the written rhythms should feel locked even though singers may perceive it as improvisational.
• Balance the three voice parts so the harmonies land cleanly without the soprano drowning out the inner parts, especially during the fast-moving passage work.
• Use the recorded accompaniment to reinforce the samba feel and give singers the harmonic and rhythmic context they need to land the tight voicings.

Program this alongside other jazz or world music selections in a spring or pops concert to showcase your choir's rhythmic flexibility and contemporary style. The 12-page length and relatively contained range make it a strong choice for filling out a longer program without demanding extensive rehearsal time relative to payoff.

• Singing in samba and Latin jazz idioms with authentic rhythmic feel
• Reading syncopated rhythms and tied note figures across three parts
• Executing quick harmonic shifts and tertian chord voicings
• Performing written scat syllables with clear diction and articulation
• Balancing three-part texture where no part dominates the sound