I Could Write a Book: Choral SoundPax

Darmon Meader's arrangement keeps the singers front and center while giving you real flexibility in the pit. The written-out scat solo can work as-is or transition into ad-lib territory, which means your ensemble controls the energy level rather than being locked into a single interpretation. That combination of structure and freedom is rare in choral jazz.

Sophisticated and playful. The tune has an easy charm rooted in classic songwriting craft, and the scat section invites singers to trade lines with the band and enjoy the give-and-take of real jazz dialogue. It feels conversational, never forced.

Choirs with jazz experience or singers comfortable with swing style and scat singing. This works well for groups that have tackled Rodgers and Hart before or directors seeking a crowd-pleasing vocal jazz number that doesn't demand a large instrumental budget.

• Shape the scat solo with clear articulation and consistent rhythmic placement so it stays locked with the rhythm section, whether you're using piano alone or a full ensemble.
• Balance the ensemble voicing against the featured singer or soloist; the arrangement works when the choir's harmonies support rather than compete with the melody.
• Build the instrumental options gradually through rehearsals. Start with piano to establish the tune's phrasing, then add rhythm section, and finally layer in horns once the vocal parts are solid.
• Communicate early whether soloists will sing the scat passage as written or take it ad lib. Either choice requires secure rhythmic confidence from your singers and players.

Program this in a jazz-focused concert set where it can breathe alongside other vocal standards, or use it to anchor a "Broadway meets jazz" programming block. It's also strong as a finale or penultimate number in a concert because audiences recognize the song and the scat element gives them something playful to remember.

• Swing phrasing and rhythmic flexibility in legato and articulated singing
• Scat singing technique and rhythmic improvisation
• Blend and balance when featured soloists perform against harmonic backgrounds
• Coordination with rhythm section and horn players to lock in swing feel
• Reading and performing jazz harmony and jazz vocal voicing