Just One of Those Things: SATB Choral Octavo

Mark Hayes has preserved the urbane charm of Porter's original while injecting genuine swing energy that keeps choirs engaged from rehearsal through performance. The arrangement's structure, moving from verse into contrasting tempos and feels, gives singers tangible musical variety without overwhelming them. This is sophisticated jazz repertoire that doesn't require a rhythm section or specialized vocal jazz training to sound polished and professional.

Elegant and worldly. The verse unfolds with the sophistication of a late-night supper club, then the arrangement shifts into brassy, foot-tapping swing that recalls the golden age of big-band jazz. Throughout, the music carries Porter's signature blend of urbane melody and rhythmic wit.

Any SATB choir seeking jazz repertoire that combines accessibility with musical substance. Groups ranging from community choirs to high school and college programs will find the arrangement scales to their size and capabilities without losing its sophisticated sound. Singers gain exposure to jazz articulation, swing feel, and harmonic language within a familiar standard.

• Keep the 2-beat section crisp and conversational, letting the walking bass drive the harmonic motion without rushing ahead of the singers' rhythm.
• In the swing section, emphasize the lifted eighth-note feel characteristic of big-band jazz; straight eighths will flatten the energy.
• Balance vocal blend against clear diction in the verse; Porter's lyrics deserve to land with precision.
• Use the recorded accompaniment to lock in the rhythmic pocket and clarify the transition between the two primary tempos.

This octavo works beautifully in a set of jazz standards or American songbook selections, especially at concerts celebrating musical theater or popular song tradition. The contrast between its opening verse and driving swing section also makes it an effective program closer that leaves audiences energized and smiling.

• Reading jazz articulation and phrasing in a four-part context
• Distinguishing and executing 2-beat and swing feels in the same arrangement
• Balancing rhythmic precision with legato sung lines over walking bass patterns
• Interpreting Porter's melodic and harmonic language in arranged form