It's a Good Day (arr. Lloyd Steinkamp): TTBB Choral Octavo
It's a Good Day (arr. Lloyd Steinkamp) Sheet Music Preview

It's a Good Day (arr. Lloyd Steinkamp): TTBB Choral Octavo

As performed by Peggy Lee / Arranged by Lloyd Steinkamp

Item: 35-DS00427453
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Additional Details
Publisher: Hal Leonard
Page Count: 6
SKU: 35-DS00427453

More about this title

About the Artist: Peggy Lee

Peggy Lee (1920–2002) was a vocalist of remarkable range and sophistication, commanding everything from jazz standards to pop ballads with equal authority. Her husky, intimate delivery and gift for phrasing made her one of the most influential female singers of the mid-20th century, influencing generations of performers across multiple genres.

Why we love this

Lloyd Steinkamp's barbershop treatment transforms this optimistic standard into a four-part men's voicing that lets the melody shine while building rich harmonic color underneath. The arrangement sits perfectly for TTBB ensembles looking for repertoire that feels contemporary and uplifting without sacrificing musicality or craft.

What to expect

Warm, swinging, and genuinely optimistic, this arrangement captures Peggy Lee's signature ease without sacrificing harmonic substance. The barbershop voicings give it a retro charm that still feels present and alive, like a well-worn favorite you're rediscovering.

Who it's for

TTBB choirs seeking accessible contemporary repertoire that connects to jazz vocal tradition and barbershop harmony. Directors programming concerts that balance lighter material with serious musicianship will find this earns its place through strong arranging and the built-in appeal of this well-loved standard.

How to get the most out of it

  • Balance the melody in the tenor line while letting the barbershop seventh chords ring fully; these harmonies need air and space to land.
  • Shape the phrases around Peggy Lee's original phrasing rather than treating each phrase as metrically identical; the swing lies in the flexibility.
  • Keep the bass line conversational and rhythmic; it drives the groove without overpowering the harmonic movement above it.
  • Mark breath points together and commit to them so the ensemble breathes as one unit, especially during longer phrases.

How to use it

Perfect as a lighter set opener or closer on a concert mixing jazz standards with other contemporary choral work. The six-page length makes it a reasonable addition to a program without requiring extensive rehearsal time, and its uplifting character serves as an excellent counterweight to more serious fare.

Skills your students will build

  • Singing jazz phrasing and swing articulation in a four-part context
  • Tuning barbershop seventh chords by ear
  • Balancing melody projection with supporting harmonic voices
  • Flexible rhythmic interpretation while maintaining ensemble cohesion

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