Nice Work If You Can Get It: SSA Choral Octavo

Jay Althouse's arrangement captures the song's infectious swing without overcomplicating it for SSA voicing. The tight harmonies and strategic use of solo passages give singers something to sink their teeth into while keeping the focus on the song's irresistible melodic charm. This is the kind of standard that programs itself into a season and stays with audiences long after the concert ends.

Buoyant and clever, with the sophistication of a 1930s Gershwin melody wrapped in a contemporary swing arrangement. The song's optimistic energy is irrepressible; even the moments of slight harmonic complexity feel light and playful rather than heavy.

Choirs ready to tackle a jazz-inflected popular standard with harmonic substance. This works for advanced high school groups, college choirs, and community ensembles looking for a showstopper that audiences recognize instantly.

• Lock in the swing feel from the first rehearsal. This song lives and dies by its rhythmic bounce; even in the harmonized sections, rhythmic precision makes the ensemble sound tighter and more intentional.
• Highlight the solo passages without letting them distract from the overall arrangement's flow. These moments should feel conversational, not self-conscious.
• Balance the close harmonies carefully. SSA voicing can muddy quickly if the blend isn't clean; encourage singers to listen across all three parts rather than locking onto their own line.

Use this as a contrast piece in a concert built around jazz or American songbook standards. Its theatrical DNA makes it excellent for pops concerts, variety shows, or as a final-concert closer that leaves the audience smiling. The 12-page score suggests a piece substantial enough to justify its own moment without requiring a full 20-minute segment.

• Swing rhythm interpretation and precision
• Reading and balancing close three-part jazz harmonies
• Solo performance confidence within a choral context
• Ensemble blend in dissonant and chromatic passages