The Best Is Yet To Come: SSA Choral Octavo

Paris Rutherford's arrangement captures the optimistic swagger of Coleman's melody while keeping the vocal writing singable and joyful for SSA ensembles. The Michael Bublé connection brings contemporary relevance to a standard that students recognize and enjoy, which means they'll invest in nailing the phrasing and style.

Optimistic and forward-looking, with the kind of effortless sophistication that makes singers feel grown up. The melody soars naturally while the harmony underneath glows with warmth, creating an arrangement that feels both polished and genuine.

Directors seeking accessible jazz repertoire for developing SSA and SSAA choirs. Singers who respond to contemporary arrangements of familiar standards and want to explore jazz style without excessive technical complexity.

• Let the syncopation breathe. Resist rushing the syncopated figures; they land with more impact when given space rather than pushed forward.
• Balance the harmony so the alto line doesn't disappear. The color of the arrangement depends on all three voices being present.
• Approach the jazz articulation with specificity. Mark whether passages should be connected or clipped, and rehearse that distinction so the ensemble moves together.
• Use the recorded accompaniment to lock in the groove early. This standard swings differently than classical repertoire, and the track grounds your singers in the right feel.

Program this as a feel-good concert opener or closing number. It works equally well as a spring pop concert feature or woven into a standards-focused program that celebrates American songwriting alongside classical works.

• Reading and performing jazz articulation and syncopation
• Blending three-part harmony with clear voice independence
• Interpreting swing rhythm and jazz phrasing
• Listening to and matching a recorded accompaniment