Love Is Here to Stay: SATB Choral Octavo

Mark Hayes knows how to honor a standard without getting precious about it. His piano writing here is substantial enough to engage musicians but never overshadows the voices, and that swing ending gives choirs permission to smile and have fun with a masterpiece.

The arrangement unfolds like a conversation between old friends, beginning in a space of genuine tenderness and moving gently toward brightness. There is no cynicism here, no irony, just the pleasure of a perfect melody supported by thoughtful, generous harmony.

Any SATB choir looking to program a beloved standard with sophistication and warmth. This works equally well for community choirs, church choirs, and college ensembles seeking accessible repertoire with real musical substance.

• Shape the opening with a generous rubato. The lush accompaniment invites flexibility; let the piano establish atmosphere before the voices enter.
• Balance the harmony so inner voices support the melody without muddying the texture. This arrangement has harmonic depth that only works if each part is heard.
• Approach the swing section with rhythmic precision. The lighter feel should feel easy and natural, not stiff or overly syncopated.
• Listen carefully to the accompaniement for harmonic motion cues. Hayes uses the piano part to signal phrasing and emotional turning points.

Pair this with other Gershwin arrangements or American standards to build a cohesive set, or use it as a closer to a concert where you want to leave the audience in a reflective but ultimately uplifted mood. The swing ending makes it an excellent encore choice.

• Singing jazz harmony and altered chords in context
• Balancing melody with complex inner-voice movement
• Transitioning between rubato and rhythmic precision
• Interpreting a lyrical melody with stylistic authenticity