Killing Me Softly With His Song: Choral Instrumental Pak
As performed by Roberta Flack / Arranged by Paris Rutherford
Item: 35-PK00180442
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Description
Create a smooth, sophisticated moment onstage with this setting of the 1974 #1 hit by Roberta Flack. Opening with a fresh and vibrant contemporary intro, the tune relaxes into a gentle bossa nova groove featuring the familiar lines of the female solo with rich vocal back-up harmonies. Duration: ca. 3:55.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00180442
More about this title
About the Artist: Roberta Flack
Roberta Flack emerged in the early 1970s as a vocalist and pianist whose interpretive gifts and technical command set her apart in soul and jazz circles. Her 1974 rendition of 'Killing Me Softly With His Song' became a cultural touchstone, demonstrating her ability to inhabit a lyric with emotional precision while maintaining impeccable vocal control across dynamic ranges.
For music educators, Flack's artistry offers a masterclass in phrasing, breath control, and the integration of improvisation within a composed framework. Her recordings remain valuable references for understanding how to balance technical sophistication with genuine emotional expression in contemporary and jazz vocal settings.
Why we love this
This arrangement respects the song's essential groove while giving your ensemble room to breathe and build dynamics. The bossa nova foundation provides a rhythmic anchor that keeps students engaged without demanding technical fireworks, allowing the focus to land squarely on ensemble blend and the interplay between solo voice and backing harmonies.
What to expect
The piece opens with energy and modernity, then settles into a warm, unhurried groove that feels both intimate and polished. There's an ease to the bossa nova section, a sense of sophisticated relaxation that makes the song feel like a conversation between the soloist and the ensemble rather than a performance.
Who it's for
Choirs seeking a piece that straddles contemporary and jazz idioms without requiring jazz-specific vocal techniques from every singer. This works particularly well for groups with a strong solo voice and an interest in pop standards that reflect sophisticated arranging and genuine musicality.
How to get the most out of it
- Establish the bossa nova pocket early in rehearsals by isolating the rhythm section, then layer the vocal parts in gradually so singers understand how their lines sit within the groove rather than on top of it.
- Shape the solo line with the same attention you'd give a jazz ballad: encourage the soloist to find space within the phrases and let the accompaniment breathe around them.
- Let the contemporary intro breathe. Resist the urge to rush it; that opening space is what makes the transition to bossa nova feel inevitable rather than abrupt.
- Balance the vocal harmonies so they support rather than overshadow the soloist. This is backing vocals in the truest sense, not a choir singing over a featured voice.
How to use it
Slot this into a concert devoted to American songwriting or pop standards, where it can anchor a set of pieces exploring how the 1970s shaped contemporary vocal writing. It also serves as an excellent vehicle for a solo feature concert, allowing spotlight singers a fully realized, professionally arranged vehicle while keeping the ensemble engaged throughout.
Skills your students will build
- Singing in bossa nova rhythm with appropriate swing and pocket
- Balancing solo voice with ensemble back-up harmonies
- Phrasing and breath control in a contemporary ballad setting
- Understanding the relationship between rhythm section groove and vocal line placement
- Interpreting arranged popular music with musical maturity