Let's Call the Whole Thing Off Cover Image

Let's Call the Whole Thing Off: SATB Choral Octavo

$2.25 USD
$2.25 USD
Skip to product information
Let's Call the Whole Thing Off Cover Image
Let's Call the Whole Thing Off: SATB Choral Octavo

Let's Call the Whole Thing Off: SATB Choral Octavo

Music and lyrics by George Gershwin and Ira Gershwin / arr. Russell Robinson

Item: 00-27154
makemusic Cloud badge

Need it now?

Buy Digital Version
$2.25
Shipped

One moment…

Related Items

Let's Call the Whole Thing Off: SoundTrax Digital Audio Download

$27.99
View

Let's Call the Whole Thing Off: SATB Choral Octavo

$2.25
View

Let's Call the Whole Thing Off: SAB Choral Octavo

$2.25
View
Description
Here's a light, swinging arrangement of a cute George and Ira Gershwin song that's ideal for any age choir. High school groups can sink their teeth into it, middle school groups can really make music with it, and elementary groups can just have fun with it. The clever lyrics ("you say ee-ther and I say eye-ther") are the focus of this piece. Great for jazz/pop groups, too.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Let's Call the Whole Thing Off: SATB Choral Octavo comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

Open in the Player

Jump straight in and assign it today.

Start Your Free Trial

Open this title and explore the full library in minutes.
Sample Pages

Sample Audio
0:00
0:00
Sample Video
No sample videos found.
Additional Details
Series: Alfred Pop Choral Series
Publisher: Alfred Music
Page Count: 12
UPC: 038081294148
SKU: 00-27154

More about this title

About the Composer: George Gershwin

George Gershwin (1898-1937) brought jazz idioms into concert music at a time when American composers were still learning to trust their own vernacular. His melodies were instantly singable, his harmonies adventurous, and his understanding of what makes music swing remained unmatched. Gershwin's output was cut short by his death at 38, but the songs he wrote with his lyricist brother Ira became the foundation of the American songbook, performed by singers and instrumentalists across every genre since.

Ira Gershwin (1896-1983) was a lyricist of uncommon wit and craft. His words fit the contours of melody with such precision that you cannot imagine the tune without them. He worked with George on their most famous collaborations and continued his career long after his brother's death, setting words to music by other composers and proving that great lyrics require the same musical intelligence as great melodies.

Why we love this

This arrangement captures everything that makes the Gershwins' original so enduring: the playful argument at its heart, the sophistication beneath the fun, and a melody that sticks with singers immediately. Robinson's voicing lets the clever lyrics shine without burying them in complexity, making this work equally well whether your singers bring jazz experience or arrive fresh to the style.

What to expect

Bright, teasing, and full of personality. The piece bounces with the energy of two people who know they're right, delivered with affection rather than anger. There's a swing to the rhythm that makes standing and singing feel effortless, and the clever rhyming keeps everyone mentally engaged from start to finish.

Who it's for

High school choirs will relish the smart humor and the chance to explore jazz-inflected phrasing. Middle school singers can build ensemble skills and part independence while staying engaged by lyrics that make them smile. Elementary groups find pure joy in a piece that sounds sophisticated but asks only for genuine enjoyment, not technical mastery.

How to get the most out of it

  • Keep the swing feel relaxed and conversational rather than rigid. The humor depends on the contrasting opinions about pronunciations sounding like an actual debate, not a choreographed number.
  • Balance the soprano and alto lines with the lower voices so that the playful disagreements between parts remain audible. This isn't a piece where blend means uniformity.
  • Let the recorded accompaniment establish the groove early in rehearsals so singers can hear how the arrangement sits in a jazz-influenced harmonic context.
  • Shape phrases around the lyrical arguments (you say this, I say that) rather than singing them as mechanical exchanges. Singers who understand the song's premise will bring the personality that makes it work.

How to use it

This octavo works beautifully in a concert that mixes standards with contemporary choral fare, or as a standalone feature for a pops or jazz-themed program. Its accessibility across age groups and skill levels makes it ideal for a diverse choral festival or a community concert where you want to entertain rather than impress.

Skills your students will build

  • Jazz/swing phrasing and rhythmic flexibility
  • Part independence and ensemble listening in a homophonic-to-contrapuntal texture
  • Lyrical clarity and articulation in a conversational style
  • Understanding of the American songbook idiom and Great American Songbook conventions

You May Also Like