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That's All: SAB Choral Octavo

$1.85 USD
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That's All: SAB Choral Octavo

That's All: SAB Choral Octavo

Words and music by Alan Brandt and Bob Haymes / arr. Russell Robinson

Item: 00-33129
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Description
Sung by top singers such as Nat King Cole, Edie Adams, Bobby Darin, and Michael Bublé, this song is one of the tops in the Great American Songbook. Here's a tight, light jazzy setting appropriate for concert, jazz, and show choirs.

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Additional Details
Series: Alfred Pop Choral Series
Publisher: Alfred Music
Page Count: 8
UPC: 038081360379
SKU: 00-33129

More about this title

About the Composer: Alan Brandt

Alan Brandt was a songwriter and composer who contributed to the Great American Songbook during its golden era. Working alongside lyricist Bob Haymes, Brandt helped create standards that would be recorded by generations of vocalists, from Nat King Cole to contemporary artists like Michael Bublé.

Why we love this

Russell Robinson's arrangement strips away excess and lands squarely in the pocket for SAB voicing, making this iconic standard accessible to choirs that might otherwise skip it. The built-in staging and movement options give your singers ownership of the piece beyond just nailing the harmony, and the recorded accompaniment means you're not hunting for a jazz pianist to make it swing.

What to expect

Warm, conversational, and effortlessly cool. The arrangement wraps around the familiar melody with tight jazz voicing that feels intimate rather than showy, letting the tune's inherent charm do the heavy lifting while the harmonies add subtle depth and color.

Who it's for

Concert choirs and jazz choirs looking for a standard that fits SAB evenly without awkward voice doubling, plus show choir directors who want a sophisticated jazz number that doesn't demand a full big band. Singers of intermediate ability and up will find the part-writing singable and the idiom rewarding.

How to get the most out of it

  • Lean into the laid-back swing feel rather than pushing the tempo; the tune's sophistication comes from restraint, not drive.
  • Balance the alto and baritone lines carefully in the harmony sections to preserve the vertical clarity that makes this arrangement work.
  • Use the movement and staging suggestions to give your singers physical permission to relax into the groove.
  • Work the recorded accompaniment in rehearsal early so singers can internalize the pocket before polishing articulation and phrasing.

How to use it

Program this alongside other Great American Songbook material for a jazz or popular standards set, or pair it with other light-touch vocal jazz numbers to create a cohesive concert segment. It works equally well as a transition piece between classical and contemporary repertoire, anchoring your choir in the tradition while proving they can swing.

Skills your students will build

  • Jazz articulation and swing phrasing
  • Reading SAB voicing with independent alto and baritone lines
  • Balancing melody with jazz harmony
  • Responding to recorded accompaniment cues
  • Connecting movement and gesture to musical style

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