Lullaby of Broadway (and "Forty-Second Street"): SSA Choral Octavo

Jay Althouse's arrangement gives these two standards a fresh, energetic treatment that keeps the charm of the originals while landing perfectly for SSA voices. The piece opens with a medley concept that honors both songs without feeling contrived, and the swing style gives your singers something genuinely fun to perform. It's sophisticated enough for competition or formal concert settings yet accessible enough to engage younger singers with repertoire they might recognize.

Glamorous and energetic, with the polish of a backstage number and the infectious optimism of 1930s songwriting. The arrangement captures that golden-age Broadway spirit while keeping the texture light and modern enough for contemporary singers to make it their own.

Directors seeking standards repertoire for SSA ensembles who want something with theatrical flair and genuine musical substance. This works equally well for high school choirs, community choruses, and college treble groups looking to add swing-era Broadway to their concert programs.

• Nail the rhythmic precision in the swing sections; loose phrasing here reads as sloppy rather than relaxed. The recorded accompaniment will anchor your tempo and articulation choices.
• Balance the harmony parts carefully during the opening 'Forty-Second Street' section so the arrangement's clever voice leading stays audible rather than muddying into a single block of sound.
• If you're using the movement and staging options, rehearse them separately from the vocal work first, then layer them together slowly. The visual element adds storytelling that transforms the performance from competent to compelling.
• Pay attention to dynamics around the transition between the two songs; the shift should feel organic, not like two separate pieces stitched together.

Program this as a showstopper in a Broadway-themed concert or as a palate-cleanser between more serious choral works; the swing rhythm and theatrical character give audiences a chance to smile. It also works beautifully in a program exploring American songbook standards across different eras and arrangements.

• Swing articulation and rhythmic precision in jazz-inflected phrasing
• Balancing complex three-part harmony without sacrificing lyrical clarity
• Coordinating vocal lines with movement and staging cues
• Interpreting style across a medley structure with two distinct melodic ideas