Sing, Sing, Sing: SSA Choral Octavo

Mark Brymer's SSA arrangement captures the propulsive energy and rhythmic sophistication of Goodman's original without sacrificing the vocal writing that makes singers want to perform it. The voicing sits naturally for the high school or community choir voice while maintaining enough harmonic interest to keep musicians engaged. It's the kind of piece that generates genuine excitement at rehearsal and delivers that same electricity in performance.

Bright, energetic, and purposeful. The piece propels forward with a sense of optimism and physical momentum that feels modern even decades after its composition. There's something inherently joyful about the rhythmic figures and harmonic movement that invites singers into the fun rather than asking them to work harder than the music asks.

High school and community choirs looking for accessible entry into jazz repertoire, as well as groups wanting a crowd-pleasing concert opener or closer. Singers don't need jazz experience to connect with the piece; the arrangement builds musical understanding through the act of performing it.

• Establish the swing feel early in rehearsals by listening to the Goodman recording together; singers need to hear how the articulation and phrasing create lift rather than sitting rhythmically behind the beat.
• Balance the rhythmic drive of the ensemble with clarity on the melodic line. The ostinato figures and rhythmic figures underneath can easily overwhelm the main tune if sections aren't careful about dynamic layering.
• Shape the longer phrases by planning breath marks collectively in your voice parts. This piece rewards singers who think in complete musical sentences rather than line-by-line.

This works beautifully as an uplifting second or third selection in a concert, especially in a program that otherwise leans toward classical repertoire. Pair it with other swing standards or use it to introduce a concert section devoted to American musical theater and jazz. It also serves as an accessible bridge for singers developing comfort with syncopation and jazz phrasing before tackling more complex modern work.

• Swing rhythms and jazz articulation (legit jazz style, not oversimplified swung eighths)
• Rhythmic independence within ensemble texture (balancing ostinato figures with melodic line)
• Phrasing and shaping across longer musical phrases while maintaining rhythmic precision
• Ensemble balance when multiple rhythmic layers occur simultaneously
• Sight-reading figures that sit outside traditional diatonic harmony