Jazz Exsultate: SATB Choral Octavo

Purifoy crafts a choral jazz piece that doesn't rely on gimmicks or oversimplification. The writing respects SATB voices while integrating genuine jazz vocabulary, making this an excellent teaching tool for choirs ready to explore contemporary styles without abandoning their classical foundation.

Joyful and energizing, with the kind of harmonic sophistication that feels modern without losing warmth. The exultant tone suggested by the title carries through inventive voicings and rhythmic drive that lifts singers beyond their usual classical posture into something more conversational and alive.

Choirs with solid fundamentals who are ready to expand into jazz and contemporary styles. This works well for advanced high school groups, college/university ensembles, and community choirs seeking fresh repertoire that challenges musicianship in new directions.

• Shape the swing feel from your rhythm section first. Get your accompanist(s) locking into the jazz pocket before layering in vocal entrances; this anchors the whole ensemble.
• Balance rhythmic precision with genuine swing. Encourage singers to listen to jazz recordings and absorb how phrasing sits slightly behind or ahead of the beat, not robotically on it.
• Highlight soloistic moments in individual voice parts. Jazz writing often gives brief spotlight passages to each section; make sure those phrases breathe and aren't buried in blend.
• Work dynamics as color, not just volume. Jazz arrangements often use register and articulation shifts to create energy; experiment with where your singers sit forward and where they recede.

This pairs beautifully in a concert that mixes classical and contemporary work, especially as a closer or a bridge between traditional anthems and fully rhythmic pop arrangements. It's also an excellent festival selection for showcasing your group's stylistic range and versatility.

• Jazz articulation and swing phrasing
• Reading syncopated rhythms in four-part harmony
• Interpreting jazz chord changes and voice leading
• Balancing individual line independence with choral blend
• Responding to a jazz rhythm section and accompaniment