I Got Rhythm: SATB Choral Octavo

Mark Hayes knows how to let a song breathe while cranking the energy to full capacity. This arrangement respects Gershwin's harmonic wit and the melodic hook that makes "I Got Rhythm" instantly recognizable, then layers in rhythmic complexity and clever voicing that keeps even experienced singers engaged. It's the kind of piece that reminds audiences why this song earned its place in American music history.

Pure joy with an edge. The arrangement sparkles with Gershwin's signature rhythmic drive while the Hayes orchestration adds contemporary sophistication. You'll feel the swing groove the moment you hear the first few measures; the energy is infectious without ever feeling frantic.

This arrangement works for any SATB choir with solid rhythm readers and some comfort with jazz vocabulary. High school choirs at the intermediate level and above will find the harmonic language and syncopation challenging but achievable; community and college choirs will embrace it as a performance-quality crowd-pleaser.

• Keep the swing feel consistent across all sections. The rhythm section parts (available separately) anchor the groove, so lock in with them from the first rehearsal rather than waiting until dress rehearsal.
• Balance the melody line against the inner harmony; Hayes writes engaging counterpoint that will disappear if sopranos dominate. Check the alto and tenor lines for musical substance.
• Attack rhythmic hits cleanly and together. Precision on the syncopated figures is what gives this arrangement its personality; loose ensemble work flattens the style.
• Use the recorded accompaniment early to help singers hear the jazz idiom and harmonic movement, then gradually reduce reliance on it so the choir develops confidence in the harmony.

This piece thrives in a pops concert or as part of an American songbook set that celebrates the Great American Song tradition. Its 16 pages and accessible-yet-polished feel make it an excellent closer for a concert that includes other jazz or popular standards, where it can send the audience out smiling without sacrificing musical credibility.

• Reading and performing swing rhythms and syncopation
• Balancing melodic and harmonic lines in jazz-influenced voicing
• Hearing and reproducing blues-inflected harmony and chord extensions
• Maintaining ensemble precision on syncopated rhythmic figures
• Executing clean articulation on jazz-style attacks and releases