Porgy and Bess®: Choral Highlights: SATB Choral Octavo
Featuring: Summertime / I Got Plenty O' Nuttin / Bess, You Is My Woman / Oh Lawd, I'm On My Way
Words and music by George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin / arr. Douglas E. Wagner
Item: 00-PO-0001370
Minimum order quantity: 20 copies
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More about this title
About the Composer: George Gershwin
George Gershwin (1898-1937) bridged classical and popular music in ways that fundamentally changed American composition. His works for stage and concert hall combined jazz idioms, blues harmonies, and sophisticated orchestration, making him one of the most performed composers of the twentieth century. Porgy and Bess stands as his largest theatrical achievement, a folk opera that draws on African American musical traditions and the American South.
Gershwin's approach to melody and harmony continues to shape how musicians think about accessibility in serious composition. His scores reward both casual listening and deep study, making them essential repertoire in music education across all levels.
Why we love this
Douglas E. Wagner's arrangement captures the sweep and drama of the original score while keeping the choral writing singable and dramatically satisfying for intermediate to advanced ensembles. The medley format lets you program a complete musical moment without overcommitting rehearsal time, and the optional concert band accompaniment gives you flexibility depending on what resources you have available. This is the kind of showpiece that energizes both singers and audiences.
What to expect
The music moves with the warmth, humor, and bittersweet emotion of the original opera. You'll encounter tender lyrical passages that sit comfortably in the choir's range, moments of syncopated energy that demand rhythmic precision, and harmonies that echo jazz and blues tradition. The arrangement feels both familiar and fresh, evoking the story and characters of Catfish Row with every phrase.
Who it's for
SATB choirs at the intermediate to advanced level who want to perform substantial Broadway repertoire with musical depth. This arrangement works well for ensembles with solid intonation and some experience with jazz and popular music idioms, and it suits directors looking for a crowd-pleasing program piece that doesn't sacrifice artistry.
How to get the most out of it
- Study the recorded accompaniment separately before rehearsing with it; the jazz-inflected phrasing and syncopation differ from classical training, and individual familiarity prevents ensemble members from getting lost in unfamiliar rhythmic territory.
- Shape the dynamic arc across the full 4:45 length as one journey rather than as separate songs; transitions between sections should feel purposeful and connected, not abrupt.
- Give special attention to the lower voices, whose harmonic foundation anchors the blues and jazz vocabulary throughout; undersinging bass and baritone lines weakens the style.
- Articulation choices matter enormously here; experiment with legato versus detached approaches in different sections to find what serves the dramatic intent and the text.
How to use it
This medley works beautifully as a standalone choral feature or as the anchor of a concert exploring American musical theater and Gershwin's legacy. Its duration and dramatic arc also make it an excellent finale for a varied concert program, leaving audiences with something substantial and joyful. If you have a concert band available, the optional accompaniment opens up additional programming possibilities by highlighting the orchestral color.
Skills your students will build
- Singing jazz and blues harmonies with accurate intonation and idiomatic style
- Navigating syncopated rhythms and syncopation across all voice parts
- Sustaining a dramatic narrative across a multi-section medley
- Blending classical choral technique with popular music idioms
- Reading and performing with optional concert band accompaniment