Something's Gotta Give: TTBB Choral Octavo

Jay Althouse's arrangement captures the swagger and harmonic sophistication of Mercer's writing without sacrificing the accessibility your singers need. Men's choirs will relish the rhythmic precision and bluesy character built into the voicing, while concert choirs appreciate that it swings without requiring a full jazz ensemble background to perform it well.

This piece swings with the casual confidence of a bebop tune while remaining deeply singable. There's a sophisticated ease to it, the kind of musical phrasing that feels natural in the voice and invites the listener to sit back and enjoy the story the lyrics tell.

TTBB choirs seeking repertoire that sits comfortably in both jazz and concert contexts, as well as men's and mixed choirs wanting a contemporary standard that appeals to audiences. Directors building a program around American songbook material will find this arrangement authentic yet practical.

• Lock in the swing feel early in rehearsals by using the recorded accompaniment to establish the pocket; this arrangement thrives on rhythmic precision rather than loose interpretation.
• Pay attention to the accents and articulation markings Jay Althouse has notated in the parts. They're essential to the style, not decorative.
• Balance the melody line so it sits slightly forward of the harmony voices, creating the clarity that lets the lyrics land with the punch they deserve.
• Consider adding light dynamics across the four voice parts; letting them breathe independently gives the arrangement its liveliness and prevents it from sounding like a block chord wall.

Pair this with other Mercer or jazz standards to create a thematic set, or position it as a stylistic contrast in a mixed-repertoire concert. Its accessibility makes it an excellent choice for spring pops concerts or any program where you want to showcase your singers' ability to handle contemporary jazz idiom.

• Singing with swing feel and rhythmic precision
• Balancing melody and harmony in jazz voicings
• Interpreting stylistically accurate articulation and phrasing
• Reading and performing from chord changes and jazz notation conventions
• Ensemble blend in four-part TTBB writing