That's Life (arr. Barbershop Harmony Society) Sheet Music Preview

That's Life (arr. Barbershop Harmony Society): SSAA Choral Octavo

By Dean Kay Kelly Gordon / By Dean Kay / By Kelly Gordon / Arranged by Barbershop Harmony Society

Item: 35-DS00472556

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Additional Details
Publisher: Hal Leonard
Page Count: 6
SKU: 35-DS00472556

More about this title

About the Composer: Dean Kay Kelly Gordon

Dean Kay and Kelly Gordon wrote "That's Life" in 1964, capturing the jazz standard sensibility that would make the song a cornerstone of American popular music. Their songwriting bridged the worlds of pop accessibility and jazz sophistication, creating a tune with enough harmonic depth to sustain countless arrangements across genres and ensemble types.

Why we love this

The Barbershop Harmony Society arrangement transforms a Vegas-era classic into something that sits perfectly in the a cappella canon without losing an ounce of swagger. SSAA voicing opens this perennial crowd-pleaser to groups that might otherwise skip it, and the harmonic color the arrangers pull from a four-part texture proves that limitation breeds creativity.

What to expect

This is classic lounge-era sophistication filtered through modern a cappella sensibility. The arrangement swings with knowing confidence, the kind of breezy coolness that makes audiences lean in and listen. There's an intimate quality despite the group texture, as if someone's telling you a story that happens to have perfect harmony underneath it.

Who it's for

Groups with strong harmonic ears and comfortable pop/jazz stylistic chops will get the most from this arrangement. It works equally well for advanced high school choirs, college groups, and community ensembles looking to add a standards-based piece with real personality to their season.

How to get the most out of it

  • Nail the rhythmic swagger from the first phrase. This tune lives in the space between straight pop phrasing and jazz inflection, so commit to the swing feel without over-exaggerating it.
  • Balance the soloistic moments in the melody line against the supporting harmony. The alto or soprano carrying the tune should sit just forward enough to tell the story without drowning out the color underneath.
  • Let the lyrics breathe. The conversational, almost spoken quality of the text matters as much as the pitches. Find where each phrase lands emotionally, not just rhythmically.

How to use it

Position this as a winter or spring concert closer for variety in a program that spans multiple styles. It pairs well alongside other American pop standards or as a palate-cleanser between heavier classical works, and its accessibility makes it an excellent encore that audiences genuinely want to hear.

Skills your students will build

  • Jazz swing feel and rhythmic inflection
  • Harmonic balance between melody and voicing color
  • Stylistic interpretation of American popular song
  • Blend and balance in SSAA texture
  • Legibility and tuning in jazz harmony

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