I'm Glad There Is You (In This World Of Ordinary People): SATB Choral Octavo

Kirby Shaw's arrangement opens up this Dorsey standard for choral voices without losing the sophistication that makes the tune enduring. The five-page octavo length is manageable for concert preparation while offering enough musical substance to reward careful rehearsal. Programming this alongside other standards or swing-influenced pieces signals to your audience that jazz repertoire belongs in the choral concert.

The piece radiates warmth and appreciation, with a melody that feels both elegant and conversational. The harmonic language gives it sophistication without pretense, creating an arrangement that sounds polished while remaining genuinely singable for most ensembles.

This octavo works well for high school and college choirs looking to expand beyond traditional concert repertoire. It's especially valuable for programs that want to develop jazz and swing interpretation skills in singers who may have limited exposure to these styles.

• Pay attention to the jazz inflections in the melody line. Swing feels and unexpected chromatic movements are built into this tune, so rhythmic precision matters as much as smooth legit singing.
• Balance the parts so the bass line remains audible; it drives the harmonic motion and gives the arrangement its rhythmic identity.
• If using the recorded accompaniment, rehearse to it early and often. Your ensemble needs to lock into the swing feel, not fight against it.
• Shape the phrases according to the lyric rather than just the written measures. This is a song about gratitude and contentment, and your phrasing should reflect that emotional truth.

Position this as a lighter moment within a concert that might otherwise emphasize classical or contemporary pieces. It also functions well as part of a standards or American songbook concert, particularly if you're building a full program around that theme. The five-page length makes it suitable for regional festivals or competitions where lighter fare provides contrast.

• Singing jazz articulation and swing rhythm
• Interpreting jazz inflections and chromatic voice leading
• Listening to and blending with accompaniment tracks
• Shaping phrases according to lyrical meaning rather than phrase marks alone
• Balancing SATB texture so inner lines contribute to harmonic clarity