Slap That Bass: SoundTrax Digital Audio Download

Larry Shackley's arrangement captures the swagger and rhythmic drive of the original while tailoring it for choir voices. The jazz vernacular stays front and center, not softened or watered down, which means singers get the real thing: syncopation, blues inflection, and the kind of rhythmic independence that makes jazz singing come alive. Programming this signals to your ensemble that popular song deserves the same musical respect as any art song.

Irresistible swing. The melody bounces with personality, and the harmonies have that warm, slightly blues-tinged quality that makes Gershwin so appealing. There's humor and energy here, a sense of joy in the music itself that lifts the spirit of any performance.

Choirs with secure rhythm section awareness and comfort with jazz phrasing. The piece works for high school ensembles with some jazz experience and adult community choirs that enjoy popular standards. It's an ideal choice when you want to program something listeners recognize and singers find genuinely enjoyable.

• Lock the rhythm section (bass and drums in the recorded accompaniment) early in rehearsal so singers understand the groove rather than fighting it. This isn't a ballad; it needs pocket.
• Mark the scoops and blue notes in the melodic line. Gershwin wrote them deliberately, and they won't sound right sung straight.
• Balance the solo line against the ensemble parts. The arrangement likely features a strong melody that needs to cut through harmonic support without overpowering it.
• Use the recorded accompaniment in full-ensemble rehearsals to lock the feel, then pull it back or remove it when working sectionals on voicing and blend.

This works beautifully as a concert opener or as part of a "Great American Songbook" set. It pairs well alongside other standards from the same era and can ease an audience into a program while immediately establishing an engaging, contemporary vibe. It's also an excellent choice for a pops concert or a mid-season rehearsal break when you want singers to feel successful and audiences to leave smiling.

• Jazz phrasing and swing articulation
• Syncopated rhythms and groove awareness
• Blue note intonation and expression
• Ensemble balance with featured melody line
• Responding to recorded accompaniment in real time