I Got Rhythm: SSA Choral Octavo

Mark Hayes has a gift for honoring a song's DNA while unleashing its full potential as a choral vehicle. This arrangement respects every ounce of Gershwin's swagger and wit, giving your singers genuine rhythmic challenges that feel earned rather than imposed. Programming this signals to your audience that your choir can swing.

Pure rhythmic vitality. This arrangement pulses with the kind of energy that comes from Gershwin's obsession with American vernacular music and Hayes's skill at layering independent rhythmic lines. Your singers will feel the propulsive momentum even during quieter moments, and the joy is genuinely infectious.

Choirs with solid rhythmic foundation and comfort with syncopation will thrive here. You need singers who can hold their own rhythmically while blending with others, especially in sections where the parts move independently. This works best for groups ready to move beyond ballads and show tunes into genuine jazz-influenced repertoire.

• Let the rhythm section lock in first during rehearsals. The foundation here matters more than in many choral pieces, so spend time getting your accompanists or recorded track perfectly synced before layering voices.
• Articulate the consonants crisply, especially in faster passages. Gershwin's syncopations depend on clean diction to land their rhythmic punches.
• Avoid over-sentimentalizing the lyric. The song's strength comes from its confident, almost cheeky attitude. Lean into the humor and swagger.
• Check the ranges on all three parts before committing to the arrangement. Hayes writes idiomatically for SSA, but some singers may need octave adjustments depending on your group's voice types.

This lands perfectly in spring concerts or programs built around American songbook standards. Consider pairing it with other arranged standards to create a thematic set, or use it as a set-closer where you want to leave the audience energized and smiling. The 16-page format makes it substantial enough to command its own moment on the program.

• Syncopated rhythm reading across multiple simultaneous patterns
• Swing articulation and phrasing distinct from classical legato
• Independence in ensemble sections with rhythmically divergent voice parts
• Jazz idiom conventions in a choral context
• Dynamic contrast within rhythmically driven writing