Nice Work If You Can Get It: SAB Choral Octavo

Jay Althouse's arrangement captures the effortless swing and elegance of the original without losing any of the song's charm. The tight harmonies sit beautifully in SAB voicing, and the two solo passages give your strongest singers moments to shine while keeping the overall texture balanced and accessible.

Sophisticated yet playful, this arrangement radiates the glamour of 1930s show business. The swingin' groove and tight harmonies create a sense of ease and confidence that's genuinely fun to sing and impossible not to enjoy as an audience member.

Choirs seeking a crowd-pleasing standard that works for both formal concerts and more casual performance settings. This arrangement suits mixed ensembles with solid treble and alto sections and at least one strong solo vocalist or two capable singers who can handle brief featured moments.

• Shape the melody line with gentle dynamic swells rather than hard attacks; this song thrives on a relaxed, confident delivery that lets the swing feel breathe.
• Keep the harmonic support light underneath the solo passages. The soloists should feel supported, not buried.
• Use the recorded accompaniment to lock the rhythm section feel early in rehearsal. Once your singers internalize the swing, that pocket becomes natural and infectious.

Program this in the second half of a concert to shift energy and mood, or open a lighter set with it. It pairs naturally with other American jazz standards and works equally well as a standalone feature or as part of a broader musical theater program.

• swing rhythm and articulation in a choral context
• balancing solo passages within ensemble texture
• close harmonic blend in three-part mixed voicing
• stylistically informed phrasing in popular repertoire