It Don't Mean a Thing If It Ain't Got That Sing, Sing, Sing: SAB Choral Octavo

Tom Anderson's pairing of these two Ellington standards in a single arrangement gives you the swinging energy of both without needing two separate rehearsal pieces. The SAB voicing sits comfortably across mixed ensembles while the arranging craft keeps singers engaged with interesting parts rather than padding them with filler.

Infectious and sophisticated at once. The familiar Ellington melodies arrive with unexpected harmonic twists and layered arranging that keeps the piece moving forward, while the swing rhythms make singers want to move and audiences want to listen. There's joy in the writing, but also real musical substance.

Directors building a jazz or American standards program who need literature that challenges intermediate-level mixed choirs without overwhelming them. This works equally well for concert programming or educational units on swing era music and composition.

• Establish the swing feel early in rehearsal by having singers listen to classic recordings and tap along before sightreading. The rhythmic precision and legit jazz inflection are essential to making this work sing.
• Balance blend carefully during the overlapping phrase sections. With 20 pages of material, singers need to hear their own line clearly while listening for harmonic blend across the SAB texture.
• Use the recorded accompaniment to anchor tempo and style during the learning process, then gradually shift rehearsals toward a cappella sections to build independence and confidence.
• Shape the dynamics with intentionality rather than letting the swing style flatten everything into one volume level. The contrast between sections will keep both the singers and audience invested.

Feature this as a centerpiece on a concert celebrating American songwriting or the legacy of jazz composition. It works particularly well sandwiched between classical or contemporary pieces to show the continuity of craft across genres, or paired with instrumental jazz ensemble pieces if your school has them.

• Singing with jazz articulation and swing rhythmic feel
• Reading SAB voicing with independent part security
• Balancing blend and intonation in tertial harmony
• Understanding the historical context of swing era standards
• Interpreting and executing arranger's stylistic and dynamic markings