Secret Love: Choral Octavo SoundTrax CD

Greg Jasperse's arrangement brings the full warmth of a jazz ballad to a choral setting without overwhelming singers or requiring specialized training. The optional repeats create natural space for soloists to shine, making this one piece do double duty as both a full ensemble showcase and a platform for standout voices. It's the kind of arrangement that sounds polished and intentional at every level, whether your group performs it straight or leans into the scat and improvisation that the score invites.

Sultry and introspective, with the warmth of a classic film score filtered through a modern jazz lens. The melody sits comfortably in the voice, but the harmonic backdrop creates real depth; it's a ballad that feels both intimate and sophisticated, inviting the listener into something worth listening to closely.

Choirs with solid blend and intonation who are ready to tackle jazz style and swing feel. This works especially well for groups that have sung some pop or contemporary material but want to expand into the richer harmonic language and nuance that jazz arranging offers.

• Support the vocal jazz phrasing by listening closely to the recorded accompaniment; the rhythm section pushes slightly behind the beat in ways that define the style, and your choir will lock in better by singing along with the track before rehearsing unaccompanied.
• Shape the dynamic arc across the full duration rather than treating it as a static ballad; the arrangement builds gradually, and resisting the urge to peak early keeps the payoff landing where it belongs.
• If you use the optional solo sections, encourage singers to study the backing track's horn voicings and respond to them, not simply sing over them. Soloists should feel like they're in conversation with the band.
• Attend to the jazz articulation markings in the printed score; the difference between a connected legato and a slightly detached swing feel is the difference between a standard ballad and this arrangement's actual personality.

This fits naturally into a pops or jazz-focused concert, especially one celebrating classic American film music or standards. It also works as a contrasting piece in a more traditional setlist, where its accessibility and sophistication can bridge audiences unfamiliar with jazz repertoire.

• Jazz phrasing and rubato within a composed setting
• Swing feel and rhythmic flexibility
• Blend and balance in jazz harmony
• Listening to and responding to a recorded accompaniment
• Basic improvisation and scat singing (optional repeats)
• Dynamic shaping in a ballad form