Let's Do It (Let's Fall in Love): SATB Choral Octavo

Jay Althouse's arrangement honors Porter's original wit while giving the piece theatrical energy that makes rehearsal genuinely fun. The structure (sweet verse into swinging chorus into a full-voiced tag) creates natural arc and momentum, keeping singers engaged through all twelve pages rather than coasting on familiarity. This is the arrangement that reminds your choir why they auditioned in the first place.

The opening feels like stepping into an elegant cocktail lounge, all restraint and sophisticated charm. Then the swing kicks in and the energy lifts, carrying you through Porter's clever observations about nature and romance with humor that feels both timeless and immediate. The final section bursts into pure exuberance, with the kind of theatrical abandon that makes singers and audiences grin.

This arrangement works for high school and college choirs comfortable with jazz harmony and contemporary choral style. It's equally valuable for show choirs and concert choirs looking to add American songbook standards to their programs; the piece scales beautifully whether you have a small ensemble or full voicing.

• Establish the swing feel clearly in rehearsal before focusing on blend. Have the rhythm section (or recorded accompaniment) play the groove several times while the choir simply listens and feels the pocket.
• Balance the famous "list" section so the humor lands. Each new couple mentioned should land with clarity, but the energy should build cumulatively rather than plateau.
• The kick-line tag at the end needs commitment and precision. Treat it like choreography for the voice: tight rhythms, unified articulation, and absolute clarity on the lyrics so the audience hears the joy, not the effort.
• Use the recorded accompaniment early and often. The swing feel and jazz harmonies are easier to lock when singers hear the professional sound model alongside a live conductor.

Program this as a contrast piece in a concert that includes more classical or serious works. Its immediate appeal and audience recognition make it ideal as a closer or second-to-last number where you want applause and laughter. It also pairs beautifully with other jazz standards or American songbook selections if you're building a thematic concert.

• Swing rhythm interpretation and jazz phrasing
• Harmonic awareness in jazz voicings
• Rhythmic precision with syncopation
• Lyrical clarity and comedic timing
• Blend in complex choral textures