Just One of Those Things: SSAA Choral Octavo

Mark Hayes brings genuine jazz sensibility to this Porter standard, letting the tune breathe with its original verse before pivoting into a 2-beat that feels both relaxed and rhythmically sharp. The swing section has enough harmonic color and rhythmic drive to keep singers engaged without requiring extensive jazz experience from your ensemble. It's the kind of arrangement that makes singers sound like they're having fun, which is precisely the point.

The opening verse settles the listener into Porter's urbane, conversational lyricism. Then the ensemble steps into a crisp, swinging groove that feels modern and polished, with walking bass underpinning jazzy block chords that give the whole piece a relaxed sophistication. It's the feeling of a nightclub rather than a concert hall, yet grounded in real musicianship.

This arrangement works for mixed choirs in grades 7-12 and adult ensembles of all levels. It demands solid intonation and rhythmic precision but rewards groups with straightforward part writing and singable ranges. Pianists and accompanists will appreciate the jazz voicings without needing extensive improv experience.

• Establish the groove early in rehearsal by walking the bass line with your lower voices before adding the melody. The walking bass drives the entire arrangement, and clarity here makes the swing section snap.
• Shape the verse to let the lyrical quality shine; this is where Porter's harmonic sophistication lives, and it sets up the stylistic contrast with the swing section.
• Balance the soloists or featured singers against the full section in the swing section so the texture remains clear without losing ensemble cohesion.
• Lock the rhythm section (if using instrumental accompaniment parts) with the recorded accompaniment first to establish the feel before adding voices.

This piece bridges your jazz and show selections beautifully, sitting comfortably in a concert that ranges from classical to contemporary. Consider placing it where you need a tempo and mood shift; its infectious swing can reset audience energy while maintaining musical substance. It also pairs well with other jazz standards or Broadway selections in a thematic program.

• Jazz swing feel and rhythmic subdivision in a 2-beat groove
• Walking bass line coordination across voice parts
• Ensemble blend in jazz voicings and block chords
• Stylistic contrast between lyrical verse and uptempo swing section
• Ensemble cohesion when featured soloists or sections carry the melody