You Make Me Feel So Young: Choral Octavo SoundTrax CD

Jay Althouse's arrangement captures the swagger and warmth of classic swing without overcomplicating the vocal writing, making it singable for choirs while maintaining the song's authentic jazz character. The combination of a beloved standard with recorded accompaniment means your singers can focus on nuance, swing feel, and blend rather than learning complicated rhythms from scratch.

Buoyant and charming, with the kind of effortless elegance that defined 1940s popular song. The melody floats over gently swinging harmonies, creating music that feels both polished and genuinely fun to sing.

Show choirs and jazz ensembles looking for a standard that audiences recognize and musicians enjoy performing. Concert choirs wanting to expand their repertoire beyond classical and contemporary sacred works will find this an accessible entry into jazz-inflected swing.

• Listen to recordings by Sinatra or Ella Fitzgerald before rehearsing to absorb the swing articulation and phrasing your ensemble should aim for; play these in rehearsal so singers internalize the rhythmic feel.
• Treat the backbeat with precision and lightness. These swing rhythms depend on crisp, unforced attacks and a relaxed sense of time sitting just behind the beat.
• Balance the vocal lines so the melody lands clearly without the harmony parts disappearing; jazz voicings can muddy quickly if lower parts aren't sung with the same presence and care as the lead.
• Work the recorded accompaniment at full speed only after your choir is secure on all parts; use it strategically in rehearsal to prevent rhythmic dependencies.

Schedule this as a contrast piece on a concert featuring primarily classical or contemporary choral repertoire; it signals versatility and gives your audience a moment of pure enjoyment. Pair it with other jazz standards or swing arrangements to build a full set that celebrates the American songbook.

• Swing articulation and rhythmic feel in the jazz idiom
• Balancing melody and harmony in four-part jazz voicings
• Singing with accompaniment tracks and matching recorded tempos
• Phrasing and rubato within a stylistic jazz context
• Intonation challenges in chromatic and altered harmony