It's Ragtime!: 3-Part Mixed Choral Octavo

Shaw writes with an infectious sense of humor and musicality that translates directly to the rehearsal room. His ragtime style feels contemporary and energetic without sacrificing the accessibility that Grade 3 singers need, and the optional use of live instruments or recorded accompaniment gives your program flexibility in how you present it.

Ragtime energy meets contemporary choral writing. The piece pulses with syncopated drive and playful rhythmic vitality, delivering the kind of infectious joy that makes singers want to move and audiences want to smile. It's polished enough for concert programming yet informal enough to feel like a musical celebration rather than a formal statement.

Middle school and high school choirs at the intermediate level, as well as community and church choirs looking for a secular, upbeat piece that engages singers and audiences alike. The moderate difficulty and three-part voicing make it accessible for developing ensembles without sacrificing musical substance.

• Lock in the rhythmic drive early. Ragtime demands precision in the syncopation; rehearse the piece with a steady pulse and encourage singers to feel the underlying beat rather than chase the syncopated lines.
• Balance the harmonic movement carefully. SAB voicings in a ragtime context can muddy quickly if parts aren't clearly defined; isolate each section and have them sing against a recording or the other parts so tuning stays clean.
• If using the recorded accompaniment, rehearse without it first so singers develop confidence in their parts independently, then layer in the track to build the full energy.
• Keep the style energetic but grounded. Ragtime thrives on rhythmic precision and clarity, not on rushed tempos; find the tempo where all three parts can articulate cleanly while maintaining the characteristic bounce.

Program this as an energy shifter in the second half of a concert, where it can lift the mood and showcase your ensemble's rhythmic sophistication. It pairs well alongside other secular or lighthearted pieces and provides a stylistic contrast to classical or traditional choral literature.

• Syncopated rhythm reading and accurate articulation of syncopated patterns
• Three-part SAB voicing coordination and blend
• Rhythmic independence and the ability to sing against syncopated accompaniment
• Style-specific interpretation of ragtime idiom
• Dynamic control and energy management in uptempo material