Nice Work If You Can Get It: SSA Choral Octavo

Jay Althouse has distilled the swing and elegance of a Gershwin standard into an arrangement that works for intermediate treble choirs without sacrificing sophistication. The tight harmonies reward careful blend and intonation work, while the two solos give singers the pleasure of stepping into a real song rather than a simplified feature. It's the kind of piece that teaches jazz phrasing and rhythmic precision through actual musical repertoire.

Sophisticated, optimistic, and propulsive. The melody sits lightly on the harmonies, and the swing rhythm keeps everything moving forward with ease and wit. There's elegance here, not complexity; singers will feel capable and genuinely musical.

Intermediate to advancing treble choirs looking for a standard that teaches swing style and jazz vocabulary without requiring specialized vocal training. This arrangement suits high school and adult choir programs ready to move beyond oversimplified pop arrangements and embrace the harmonic and rhythmic language of American song.

• Treat the swing feel as a rhythmic vocabulary rather than a style affectation. Have singers subdivide and feel the backbeat; this grounds the syncopation and keeps it from sounding rushed or awkward.
• Shape the two solo sections with clear breath placement and narrative intent. These moments should feel like someone is really singing to the ensemble, not performing at them.
• Let the tight harmonies breathe. Lock balance in rehearsal, but in performance, allow the soloists room to phrase naturally; the ensemble will feel it and adjust.
• Use the recorded accompaniment to lock groove and tempo, but rehearse sections a cappella to build internal confidence and harmonic accuracy.

Program this as a set with other standards or jazz-inflected pieces to showcase your choir's range and versatility. It works equally well as a pops concert anchor or as the opener for a spring concert; the familiarity and charm make audiences lean in immediately. Consider pairing it with another Gershwin tune or contemporary swing arrangement to give the concert a coherent musical voice.

• Swing rhythm and syncopation
• Jazz phrasing and articulation
• Blend and balance in close harmonic writing
• Solo performance and lyrical storytelling within ensemble context
• Reading and executing straightforward arrangements of sophisticated standards