Taking a Chance on Love: SAB Choral Octavo
Words and music by John LaTouche, Vernon Duke, and Ted Fetter / arr. Kirby Shaw
Item: 00-PO-0007165
Minimum order quantity: 20 copies
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More about this title
About the Composer: John LaTouche
John LaTouche (1917-1956) was an American lyricist and librettist who shaped the sound of mid-century American musical theater. His collaborations with composers like Vernon Duke and others produced standards that blend sophisticated wit with genuine emotional depth. LaTouche's gift for clever, conversational lyrics that still sing naturally made him a sought-after voice for Broadway and popular song during the golden age of American songwriting.
Beyond his Broadway work, LaTouche's songs have become staples of the jazz and pop vocal repertoire, performed by generations of singers who appreciate his blend of intelligence and accessibility. His influence on vocal jazz standards remains evident in how singers approach rhythm, phrasing, and the marriage of text to melody.
Why we love this
Kirby Shaw's arrangement respects the sophistication of this jazz standard while making it genuinely singable for SAB choirs. The contrapuntal writing creates real musical interest without requiring advanced jazz technique, and the included SoundPax gives singers the full big band experience they'd otherwise need a full instrumental ensemble to achieve.
What to expect
Playful, propulsive, and rhythmically alive. The snappy syncopations and clever text create a sense of forward momentum that feels lighter than it reads on the page, with contrapuntal moments that add sophistication without sacrificing the essential fun of a good jazz standard.
Who it's for
Any SAB choir ready to move beyond pop arrangements into the jazz standard repertoire. This works equally well for high school choirs with jazz experience and community or adult choirs seeking accessible but musically substantial jazz material.
How to get the most out of it
- Listen carefully to the recorded accompaniment or SoundPax to lock in the swing feel; the rhythmic precision matters more here than in classical music, and the rhythm section's pocket will guide your phrasing.
- Treat the lyrics as conversational speech that happens to be sung; let the natural language stress shape your interpretation rather than forcing square phrasing onto syncopated rhythms.
- Balance the parts so the contrapuntal lines remain clear; in jazz arrangements, independence of voice parts creates the texture, so resist blending into a single sound.
- Work the dynamics carefully to support the jazz articulations; the written hairpins and accents shape swing style as much as they do in classical music.
How to use it
Program this alongside other jazz standards to create a dedicated set, or use it as a bridge between pop and jazz repertoire. The recorded accompaniment makes it practical for festivals and concerts where you need polished sound without a full band.
Skills your students will build
- Swing rhythms and syncopated phrasing
- Reading and balancing independent contrapuntal lines
- Jazz articulation and style interpretation
- Ensemble precision with recorded accompaniment