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Skylark: SAB Choral Octavo

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Skylark: SAB Choral Octavo

Words by Johnny Mercer, music by Hoagy Carmichael / arr. Kirby Shaw

Item: 00-27228

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Description
This jazz standard has been recorded by everyone from Ella Fitzgerald to Bette Midler. Now your groups can perform it with this well crafted arrangement by Kirby Shaw. The optional flute (or violin) part in the SoundPax adds a lilting quality. The voice writing is surprisingly uncomplicated for such a sophisticated melody. Logical voice writing.

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Additional Details
Series: Alfred Pop Choral Series
Publisher: Alfred Music
Page Count: 8
UPC: 038081294889
SKU: 00-27228

More about this title

About the Composer: Hoagy Carmichael

Hoagy Carmichael (1899, 1981) was one of America's most prolific songwriters, composing over 500 songs during his lifetime. His melodies became the foundation of the Great American Songbook, recorded countless times by vocalists across jazz, pop, and standards repertoires. Carmichael's gift was craft: he wrote tunes that sound effortless to sing yet contain sophisticated harmonic movement and memorable contours that reveal new details with each performance.

Beyond his work as a composer, Carmichael was a pianist, actor, and bandleader who understood the voice intimately. His songs endure in school choral programs because they respect singers while demanding musical maturity. "Skylark," composed in 1942, exemplifies his ability to balance accessibility with elegance.

Why we love this

Kirby Shaw's arrangement strips away unnecessary complexity without sacrificing the standard's sophistication. The voice writing sits comfortably for developing singers while the melody remains recognizable to audiences who know the Ella Fitzgerald recording. That optional flute or violin part gives directors flexibility: it's lush with accompaniment but the piece stands on its own without it.

What to expect

Smooth and introspective, with the gentle melancholy of a late-night standard. The melody floats over warm harmonies, creating an intimate moment even in a full choir. There's an elegance here that feels both accessible and unhurried.

Who it's for

This works for choirs with solid sight-reading skills and a comfort with jazz harmony. It suits mixed groups ranging from high school to community ensembles seeking a concert piece with real sophistication and audience recognition.

How to get the most out of it

  • Center the emotional weight on the soprano line. This melody needs space to breathe; keep rhythmic accompaniment light and conversational rather than driving.
  • Work the harmonic movement in your lower voices separately before combining sections. The SAB voicing asks altos and basses to support sophisticated chord changes that reward rehearsal time.
  • If you use the flute or violin part, balance it carefully against the choir. It should float above rather than compete with the vocal lines.
  • Consider the recorded accompaniment as a starting point, not a template. Build your own interpretation of the swing feel; let your singers find the natural phrasing they hear in the standard.

How to use it

Place this alongside other Great American Songbook standards for a concert focused on jazz and pop classics, or feature it as a sophisticated contrast in a mixed program. Its eight pages make it ideal for a mid-program moment that shifts the energy without demanding novelty.

Skills your students will build

  • Reading jazz harmony and extended chords (sevenths, ninths)
  • Sustaining melodic lines with swing phrasing
  • Balancing SAB voicing where alto and bass lines carry harmonic responsibility
  • Interpreting a familiar standard in ensemble context

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