I've Never Been In Love Before: Choral Instrumental Pak
By Frank Loesser / Arranged by Kirby Shaw
Item: 35-PK00150877
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Description
This really cooks! Vocal jazz hits over a walking bass line, a swingin' ensemble scat chorus and a hot combo orchestration make this arrangement of the Frank Loesser standard a definite winner! Duration: ca. 2:15.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00150877
More about this title
About the Composer: Frank Loesser
Frank Loesser (1910–1969) was a Broadway composer and lyricist who mastered the art of writing singable melodies with smart, conversational lyrics. His gift for character and humor shaped American musical theater, from "Guys and Dolls" to "How to Succeed in Business Without Really Trying." For music educators, Loesser's standards remain ideal vehicles for teaching song interpretation, phrasing, and the marriage of words to music.
Why we love this
Kirby Shaw's arrangement cracks the code that many jazz choral pieces struggle with: it's genuinely fun to sing without requiring your ensemble to sound like seasoned pros. The walking bass provides rhythmic scaffolding, the scat chorus gives singers permission to play, and the combo orchestration is lean enough that you're not fighting through dense voicings to find the tune.
What to expect
A late-night supper club transplanted into your concert hall. The walking bass line anchors everything in groove; the scat writing sparkles with joy and spontaneity; the combo arrangement swings hard without ever overcomplicating itself. This is Loesser's ear for melody and character married to genuine jazz energy.
Who it's for
Choirs that want to program a legitimate jazz standard without needing a full horn section. Works for high school and college ensembles looking to add swing and wit to a concert, and for directors seeking material that teaches jazz phrasing in a low-pressure, high-enjoyment context.
How to get the most out of it
- Lock the ensemble's entrance timing on that scat chorus by rehearsing it first without the recorded accompaniment; once the rhythmic confidence is there, layer in the playback.
- Keep the vocal tone warm and conversational rather than operatic. This is a story being told, not a proclamation.
- Balance the solo line clearly against the ensemble. If your rhythm section vocalist is buried, the piece loses its narrative drive.
- Let the walking bass shape your tempo; if the rhythm feels rushed, it will pull everything forward and flatten the swagger.
How to use it
Pair this with other vocal jazz selections to build out a "Great American Standards" set, or use it as a tonal palate cleanser between heavier concert pieces. The 2:15 duration makes it ideal for filling specific program slots without requiring extended rehearsal time relative to its impact.
Skills your students will build
- Jazz phrasing and rubato
- Scat singing and ensemble rhythmic precision
- Solo line projection over ensemble texture
- Swing feel and groove alignment with rhythm section
- Interpretation of lyrics for character and storytelling