Who Could Ask for Anything More?: SATB Choral Octavo

Jay Althouse's arrangement captures the effervescence and harmonic sophistication of Gershwin's originals while tailoring them for mixed voices. The medley format keeps energy high across eight minutes, preventing any single number from overstaying its welcome, and the orchestration choices (with optional instrumental parts) make this accessible whether you're singing a cappella or adding small ensemble support. Programming seven Gershwin standards in one rehearsal package gives you immediate credibility with your singers and audiences.

Witty, urbane, and buoyant. These songs radiate the optimism and infectious charm of 1920s-30s Manhattan; they swing with subtle jazz inflection, pivot between major and minor with sophisticated ease, and never take themselves too seriously. Singing them feels like participating in a celebration of American songcraft at its peak.

This octavo works for high school and college choirs with solid intonation and some rhythmic independence, as well as adult community choirs seeking repertoire with broad appeal. The Gershwin names and instantly recognizable melodies draw both singers and audiences in, making it ideal for groups wanting to showcase American musical theater heritage without requiring soloists or specialized skills.

• Balance the soloists carefully in songs that feature solo lines; these moments deserve clarity without drowning the four-part texture beneath them.
• Use rubato and rhythmic flexibility in the slower passages to capture the jazz-inflected phrasing Gershwin intended, but snap back to strict tempo once the full choir enters.
• Shape each song as a miniature arc rather than treating the medley as one continuous piece; brief breath points between songs prevent listener fatigue.
• The recorded accompaniment can anchor rhythmically complex syncopated passages; consider running sections with the track in early rehearsals before removing it.

This medley works beautifully as a concert closer or a joyful opener, especially on programs pairing classical, sacred, and contemporary music; its theatrical energy and familiar melodies provide welcome relief and accessibility. Consider it for pops concerts, alumni events, or fundraising galas where the audience includes non-musicians who will recognize every tune.

• Jazz phrasing and swing rhythms in a choral setting
• Navigating syncopation and syncopated entrances within four-part texture
• Stylistic awareness of early twentieth-century American popular song
• Balancing solo lines with harmonic support
• Shaping medley-style programming with clear sectional divisions