It's Only A Paper Moon (arr. Paris Rutherford): Choral Instrumental Pak
Arranged by Paris Rutherford
Item: 35-PK00447414
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Description
The great Harold Arlen wrote this for an unsuccessful Broadway play. But you can't keep a good song down. This has been recorded by Ella Fitzgerald, Benny Goodman and many more. Here is a treatment that begins with the choir in unison for the first two verses establishing an easy swing style. The bridge keeps swinging but with tight harmony and it is followed by a dynamite choral scat section. It goes out swinging as hard as it began but with hip, jazzy harmony and a "Basie" ending.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00447414
More about this title
About the Arranger: Paris Rutherford
Paris Rutherford is an arranger deeply rooted in the jazz tradition, with a particular gift for translating the language of swing into choral contexts. His arrangements prioritize singability and ensemble cohesion while preserving the harmonic sophistication and rhythmic drive that make jazz standards endure.
Why we love this
Rutherford's structure here is elegant pedagogy wrapped in genuine swing. Starting with unison voices establishes the tune's narrative before the harmonic complexity arrives, letting your singers feel secure in the melody while building toward the scat section that will electrify them. The arc from unison to tight harmony to scatting mirrors how jazz itself teaches musicians to listen, lock in, and finally cut loose.
What to expect
Breezy and conversational at first, with a melody that floats effortlessly above the rhythm section. Then the arrangement tightens into something sophisticated and swinging, before erupting into playful, energetic scatting that shows off your singers' musicianship. The whole ride feels like watching a conversation turn into a celebration.
Who it's for
This works beautifully for choirs comfortable with swing vocabulary and ready to explore scat singing without intimidation. It's ideal for ensembles that want to program a familiar, crowd-pleasing standard while developing their jazz facility.
How to get the most out of it
- Shape the unison verses as though telling a story rather than reading text; the lightness of touch matters more than volume, and it sets up the harmonic sections ahead.
- Treat the bridge's tight harmony as a chance to hear each voice line independently. Balance the chord so no single part dominates, and let the swing feel breathe naturally.
- The scat section demands confidence from your singers. Build it in rehearsal by having them sing the exact rhythmic figures in unison first, then distribute the lines once they own the feel.
- That Basie ending is your exit; commit fully to it and let it land with swing and swagger, not apology.
How to use it
Position this as an opener for a jazz or popular music concert; its accessibility draws the audience in while signaling the musical spirit of the evening ahead. It pairs naturally with other swing era standards and works especially well when you're building a set that moves from gentle to exuberant.
Skills your students will build
- Swing articulation and phrasing
- Reading and performing scat vocal lines
- Blend and balance in close harmony
- Rhythmic precision in ensemble swing style
- Interpreting jazz standards with historical awareness