Just One of Those Things: Choral SoundPax

Mark Hayes takes a standard that could feel predictable in a choral setting and reshapes it with genuine rhythmic vitality. The decision to open with the verse before shifting into swing feels intentional and engaging rather than formulaic, giving singers real interpretive moments. For directors seeking jazz repertoire that doesn't demand a massive ensemble, this arrangement proves that a Cole Porter classic can sound fresh and contemporary in the hands of a skilled arranger.

The piece captures the urbane elegance of Cole Porter's original while filtering it through a contemporary jazz sensibility. You'll experience the coolness of the opening verse, then feel the music shift into a swinging, propulsive groove that's irresistible without being complicated. There's genuine joy in the harmonic movement and a real sense of performers who are enjoying themselves.

This arrangement suits choirs of any size and skill level, from high school concert choirs to community ensembles seeking accessible but stylish jazz material. Singers need comfort with swing feel and basic jazz vocabulary, but the part writing is straightforward enough that this doesn't require advanced musicianship. It works equally well as a standalone feature or as part of a program built around American standards and popular music.

• Shape the opening verse with restraint and clarity so the transition into the swing section lands with full impact. The contrast between these two sections is the arrangement's greatest strength.
• Lock the rhythm section (if using instrumental parts) into the walking bass line during the 2-beat sections. This foundation will allow the choir to settle confidently into the groove.
• Keep the swing sections light and bouncy rather than pushing tempo. The "kickin' swing" Hayes describes works best with relaxed precision, not aggressive energy.
• Layer your voiced sections carefully in the faster passages. With 56 pages of material, balance is essential so every harmonic detail can breathe.

Pair this with other American jazz standards to build a full concert segment, or use it as an exciting contrast to more classical choral fare. It works particularly well in spring concerts where audiences expect variety and energy. The accessibility of both the music and the arrangement makes it ideal for programs aimed at introducing audiences to jazz-influenced choral singing.

• Swing rhythm interpretation and jazz phrasing
• Transitions between contrasting tempos and rhythmic feels
• Singing through jazz harmonies with harmonic awareness
• Ensemble listening within syncopated and syncopated textures