Too Darn Hot: SAB Choral Octavo

Mark Hayes's SAB arrangement captures the sultry swagger of Porter's original without losing the sophisticated harmonic language that makes this tune endure. The clean jazz writing and optional instrumental parts give your singers a real taste of Broadway production values, and the simple texture makes it accessible for mixed choirs while the grooved bass line and finger snaps keep everyone invested in the sound.

From the first finger snap, this arrangement exudes confidence and heat. The sultry bass line and tight harmonies create a swinging, intimate atmosphere that feels like stepping into a dimly lit jazz club, while Porter's iconic melody keeps the piece buoyant and undeniably fun.

Choirs seeking a crowd-pleasing piece that teaches jazz harmony, groove, and Broadway style without requiring extensive rehearsal time. This octavo works equally well for community choirs, school choirs at the middle school level and above, and church choirs wanting to program contemporary arrangements alongside traditional repertoire.

• Lock the bass line and hand percussion (finger snaps or brushes) together from the start; they're the foundation that drives the entire groove.
• Balance the alto and bass parts so their rhythmic figures sit forward in the mix without overshadowing the melody; this arrangement thrives on clarity between lines.
• Let the soloists breathe freely in the sultry passages; this piece demands confidence and a genuine understanding of jazz phrasing rather than strict metronomic precision.
• If using SoundPax or SoundTrax accompaniment, rehearse with the recorded track early to anchor tempo and style before polishing interpretation.

Program this after a group of more formal pieces to reset the concert's energy, or use it as a finale that sends your audience out smiling. It pairs beautifully with other jazz or pop standards, and its relatively modest page count (16 pages) makes it easy to fit into a season already crowded with classical repertoire.

• Jazz harmony recognition and voicing control
• Reading and executing syncopated rhythms in a pop/jazz context
• Singing with groove and swing feel rather than straight rhythmic precision
• Balance and blend across three-part mixed voicing
• Stylistic interpretation of Broadway/jazz phrasing