Just One of Those Things: 1st B-flat Clarinet: Choral SoundPax

Mark Hayes has crafted an arrangement that honors Porter's sophisticated harmonies while making the piece breathe with contemporary energy. The structural choice to open with the verse before shifting into the swing section gives your singers a moment of lyrical warmth before the groove takes over, making it feel like an actual jazz performance rather than a concert arrangement of a jazz standard. It's the kind of piece that sounds effortless but gives every section of your choir something meaningful to do.

The piece captures the urbane charm Porter intended while adding modern swing vitality through Hayes's arranging choices. There's an ease and confidence in the groove, a sense of musicians who know this song deeply and are inviting an audience into their world. The contrast between the intimate verse and the energized swing section creates emotional shape and musical interest.

Any choir looking to program a sophisticated jazz standard that works for mixed voices of all sizes. This arrangement serves intermediate to advanced singers who are ready to navigate jazz phrasing and ensemble blend, as well as younger singers in quality programs who benefit from hearing and singing genuine American songbook material.

• Shape the opening verse with genuine legit tone and clear diction; let the lyrical content land before the band kicks in with the walking bass.
• Lock the rhythm section's pocket during the swing section by having your singers listen closely to the recorded accompaniment and feeling the backbeat rather than fighting it.
• Balance the ensemble parts carefully in the jazzy sections so individual voice lines don't muddy the harmonic sophistication Porter built into this tune.
• Treat the ensemble jazz chords as living, breathing sonorities rather than static block chords; small dynamic shadings and attention to blend will reveal Hayes's voicing choices.

This works beautifully on a concert featuring American standards or pop choral repertoire, especially alongside other swing-era classics. It also pairs well with other Mark Hayes arrangements or mixed jazz-inflected pieces. The piece has enough musical substance to anchor a secular concert programming while remaining approachable enough for spring pops concerts or community performances.

• Jazz phrasing and lyrical interpretation in a swing style
• Ensemble blend within complex jazz harmonies
• Rhythmic precision in 2-beat and swing tempos
• Listening to and responding to recorded accompaniment
• Understanding sectional contrast and form through verse-chorus structure