You Make Me Feel So Young: SATB Choral Octavo

This arrangement lands in the sweet spot between authentic jazz vocabulary and singability for mixed choirs. Jay Althouse's voicing respects the swing era idiom while keeping the part-writing accessible, making it equally at home in a concert setting or a pops show without feeling diluted.

Buoyant and warm, with the sophisticated ease of a classic Sinatra recording translated into four-part harmony. The arrangement glows with mid-century charm and rhythmic lilt, invoking a smoke-filled club or a well-dressed ballroom.

Concert choirs seeking jazz-inflected repertoire that feels period-authentic without requiring jazz choir experience, and show choirs looking for a sophisticated swing number that audiences adore. Solo singers and smaller vocal ensembles can also thrive with this material.

• Shape the rhythm section parts (if using instrumental accompaniment) to sit behind rather than push the vocal lines; the singers should own the swing feel.
• Attend to the balance between S and T in the opening phrase; both lines carry the tune, and either can get buried if the rehearsal balance favors one voice.
• Anchor the harmonic sophistication in vowel consistency across the chord; jazzy harmony only lands when each section sings through their vowels uniformly.

Pair this with other American songbook standards in a concert celebrating the Great American Songbook, or use it as the centerpiece of a pops concert where jazz and swing sit alongside light classical works. Its accessibility and recognizable melody make it ideal for gala events or community choir showcases.

• Jazz phrasing and swing rhythm interpretation
• Balancing written harmony with lyrical singing
• Reading chromatic harmony and jazz chord voicings
• Coordination of vocal parts in a light, conversational style