Sing, Sing, Sing: SSAB Choral Octavo

Mark Hayes understands exactly what makes this Prima classic swing, and his SSAB voicing captures all the rhythmic drive and sass of the original without requiring singers to navigate impossible ranges. The independent vocal lines keep things interesting for each section, while the optional horn and rhythm parts give you the option to add authentic color. This arrangement genuinely works as a concert opener or closer because it lands with a jolt and leaves audiences in a great mood.

Pure joy and momentum. The swinging rhythms feel loose and playful, while the independent vocal lines create layers of energy that build excitement. You're in a room where everyone's smiling, the rhythm section is grooving, and the whole ensemble is channeling the infectious spirit of a big band from a golden age of American music.

School choirs looking for a crowd-pleasing opener, community choirs that want to prove jazz can be fun and accessible, and ensembles ready to move beyond ballads and explore rhythm with intention. This works for groups with modest jazz experience as long as singers are comfortable with syncopation and blend.

• Isolate the rhythm section rhythms first. Get your bass, drums, and piano locked before layering in the vocal lines. The swing feel hinges on how those parts speak to each other.
• Ask singers to commit to the syncopations without rushing. Swinging doesn't mean speeding up; it means sitting just slightly behind the beat with confidence.
• If you're adding the horn parts, use them strategically as punctuation rather than filling every measure. The arrangement will breathe better and the horn stabs will land harder.
• Bring out the fresh lyrics. Hayes has updated the text to keep things bright and current, so articulate those new phrases with clarity so the audience hears them as part of the fun.

Open your spring concert with this and watch the audience instantly shift into celebration mode. It pairs well with other mid-century standards or contemporary jazz settings, and it can anchor a program section on American popular song. Program it after something introspective to show your singers' range, or lead into a lighter second half of the concert where the energy stays high.

• Swing articulation and rhythmic placement (laying back slightly against the beat)
• Independent vocal line reading with blended ensemble sound
• Syncopated rhythm reading across multiple voice parts
• Jazz style and interpretation beyond classical phrasing
• Ensemble balance with instrumental accompaniment and optional horn parts