Sway (Quien Será) (arr. Craig McLeish): SATB Choral Octavo

Craig McLeish's arrangement captures the sophisticated ease of Martin's original while making it genuinely accessible for SATB choirs. The Latin-influenced rhythmic foundation gives students something tangible to lock onto, and the short length means you can add this to a concert without the rehearsal commitment of a full extended work.

Warm and inviting, with an easy Latin sway underneath classic pop-vocal smoothness. There's a romantic lightness to this piece, the musical equivalent of dancing close to someone without overthinking it.

This arrangement works for any SATB choir looking to add a touch of jazz sophistication without stepping into serious arranging territory. It suits ensembles that enjoy pop and jazz standards but may lack a dedicated show choir or jazz ensemble.

• Keep the Latin percussion feel alive even in the ensemble sections. A light, dance-like bounce in the rhythm gives the piece its character without overplaying the groove.
• Balance the solo line (if featured) against the harmonic support; the verses should feel conversational rather than drowning in block harmony.
• Let the swaying quality of the melody guide your phrasing. Resist the urge to phrase in strict 4-bar chunks; instead, follow the natural contours of the tune.
• Pay attention to vowel consistency across the choir, especially in the sustained chords. A unified "oh" or "ah" sound will enhance the lyrical quality.

Slip this between heavier classical or contemporary work on a spring concert to give your audience a moment of pure entertainment. It also pairs naturally with other jazz or American Songbook standards if you're building a themed set.

• Phrasing and breath control in a legit singing context
• Latin rhythmic feel and coordination with the ensemble
• Balance between solo line and choral harmony
• Stylistic interpretation of a jazz standard