Sing, Sing, Sing: SATB Choral Octavo

Mark Hayes captures the infectious swagger of Prima's original in a setting that gives every voice section real independence and melodic interest, not just harmonic filler. The combination of crisp swing rhythms, sassy articulations, and optional instrumental parts makes this equally effective with a choir alone or with a full horn section, giving directors flexibility based on their ensemble's strengths. It's the kind of opener that brings instant energy to a concert and reminds audiences why this music has lasted nearly a century.

Walking into a 1940s jazz club with a orchestra in full swing: bright, confident, rhythmically propulsive, and utterly charming. The harmonies sparkle with chromatic color and jazz voicings while the lyrics and melody keep everything accessible and singable, creating a piece that feels both sophisticated and genuinely fun to perform.

School and community choirs at intermediate to advanced levels who want a concert opener or closer with genuine star power and swinging style. The piece works equally well for show choirs, jazz-focused ensembles, or traditional choral groups looking to expand their repertoire beyond classical or sacred music.

• Lock into the swing feel from the first rehearsal; the syncopation throughout demands precise, relaxed rhythmic precision from all four voices to avoid sounding stiff or rushed.
• Balance the independent vocal lines carefully in sections where parts move at different speeds. The alto and tenor lines often drive the harmonic motion while soprano and bass anchor it, so bring out that interplay rather than blending it away.
• If performing with the optional instrumental parts, rehearse with them early and often. The horn and rhythm section give the piece its authentic character, and the choir needs to feel locked in with those colors rather than simply underneath them.
• Approach the sarcastic attitude in the lyrics and phrasing as permission to perform with personality. Rhythmic articulation, dynamic shaping, and confident ensemble communication will sell this piece's fun factor more effectively than volume.

Program this as a first-half closer to send the audience out energized and smiling, or open the second half with it to immediately recapture attention after an intermission. It pairs naturally with other Great American Songbook standards or mid-century pop material, and its theatrical confidence makes it an ideal vehicle for choirs wanting to showcase vocal personality alongside technical skill.

• Swing rhythm feel and syncopation in SATB context
• Independent voice leading through complex harmonic movement
• Jazz articulation and style (phrasing, attitude, rhythmic precision)
• Ensemble balance and blend when multiple voice parts move simultaneously
• Sight-reading jazz chord progressions and chromatic voice leading
• Ensemble coordination with optional instrumental parts