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Vocal Jazz Choir Music (80)
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For All We Know For All We Know
arr. Paris Rutherford - Hal Leonard Corporation

"For all we know, we may never meet again. Before you go, make this moment sweet again..." This tender vocal jazz ballad is expertly arranged for unaccompanied voices to show your group at its best. A

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SATB 
MMedium
$2.15
A Cappella Warm-Ups for Pop and Jazz Choirs A Cappella Warm-Ups for Pop and Jazz Choirs
Deke Sharon & J.D. Frizzell - Hal Leonard Corporation

Deke Sharon and J.D. Frizzell have provided a wide array of warm-ups specifically designed for pop and jazz choirs that will also work well for contemporary a cappella groups. There are over 39 creative

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A Cappella Standards A Cappella Standards
arr. Roger Emerson - Hal Leonard Corporation

This collection of a cappella jazz standards delivers plenty of musical flair at a value! Perform these pop and jazz classics with your concert choir, or use as a curriculum with your vocal jazz group. And

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All the Things You Are All the Things You Are (from "Very Warm for May")
Oscar Hammerstein II & Jerome Kern/arr. Kirby Shaw - Hal Leonard Corporation

The beautiful simplicity of the timeless melody is further enhanced by lush chord changes and tasteful phrasing in this a cappella arrangement. This classic standard from the Kern and Hammerstein musical

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What Is This Thing Called Love? What Is This Thing Called Love?
Cole Porter/arr. Monica Pabelonio - Alfred Music Publishing

A Cole Porter standard that has been recorded by a multitude of performers including Billie Holiday, Frank Sinatra, and Ella Fitzgerald. Vocal jazz lovers will enjoy this rich a cappella arrangement perfect

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SATB 
MEMedium Easy
$2.00
Blue Moon Blue Moon
Richard Rodgers & Lorenz Hart/arr. Jonny Priano - Alfred Music Publishing

A modern a cappella setting of the 1961 classic song from Rodgers & Hart. With some divisi throughout, this piece gives an incredible opportunity to teach musicality, balance and blend for your mixed

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SATB 
MMedium
$2.00
Love Is Here to Stay Love Is Here to Stay
arr. Kirby Shaw - Hal Leonard Corporation

This is a classic a cappella Kirby Shaw setting of a Gershwin ballad. Love Is Here to Stay appeared, perhaps most memorably, in the 1951 MGM picture "An American in Paris," for which it served as

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A Nightingale Sang in Berkeley Square A Nightingale Sang in Berkeley Square
arr. Kirby Shaw - Hal Leonard Corporation

For over seven decades, this song, written during World War II, has held an emotional connection with music lovers for its nostalgic longing for happier times. This a cappella setting offers opportunities

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I'll Be There I'll Be There
arr. Jeremy Fox - Alfred Music Publishing

With sensitive lyrics by Alan and Marilyn Bergman, this ballad, popularized by Rosemary Clooney, lends itself well to beginning vocal jazz groups. The melody moves seamlessly from the choir to a featured

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When October Goes When October Goes
Johnny Mercer & Barry Manilow/arr. Kirby Shaw - Alfred Music Publishing

"It doesn't matter much how old I grow, I hate to see October go." A cappella choirs will enjoy the lush jazz harmonies in this tasteful arrangement of Barry Manilow's 1985 hit. Impeccable voice leading and

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Ev'ry Time We Say Goodbye Ev'ry Time We Say Goodbye
Cole Porter/arr. Jamey Ray - Alfred Music Publishing

Smooth and delicious are the words to describe this a cappella jazz setting of the Cole Porter standard. A delicate opening "oo" section gives way to a unison statement of the melody before melting into

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Once Upon a Time Once Upon a Time
arr. Paul Langford - Alfred Music Publishing

"Once upon a time a boy with moonlight in his eyes..." This rich a cappella setting of the love ballad from the 1962 show "All American" is equally appropriate for jazz, show, and concert choirs. "...but

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It Don't Mean a Thing It Don't Mean a Thing (If It Ain't Got That Swing)
Irving Mills & Duke Ellington/arr. Anders Edenroth - Walton Music

This challenging a cappella arrangement captures all the energy and pizzazz of Duke Ellington's original. It opens with the seldom-heard verse, in rubato tempo; then the bright swing tempo kicks in and it's

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SATBB 
$2.55
Almost Like Being in Love Almost Like Being in Love
Alan J. Lerner & Frederick Loewe/arr. Darmon Meader - Shawnee Press

This Lerner and Loewe hit from "Brigadoon" works beautifully for a cappella voices in this swingin' setting by Darmon Meader of New York Voices fame. Opening with the verse at rubato tempo, it soon takes

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My One and Only Love My One and Only Love
arr. Paris Rutherford - Hal Leonard Corporation

Many great jazz singers and instrumentalists have performed and recorded this old standard, including Frank Sinatra. It lends itself beautifully to a cappella choral singing in this textured arrangement.

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Sambalele Sambalele
arr. Will Lopes - Hinshaw Music, Inc.

The word "samba" comes from a Brazilian rhythm and dance, and the word "lele" is an expression of excitement. Vocal percussion, exciting dynamics, snappy rhythmic figures and a fun Portuguese text combine

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SATB 
MAMedium-Advanced
$2.45
Come Fly with Me Come Fly with Me
Deke Sharon - UNC Jazz Press

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SATB 
$45.00
Moondance Moondance
Deke Sharon - UNC Jazz Press

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SSATB 
$45.00
Miss Otis Regrets Miss Otis Regrets
Deke Sharon - UNC Jazz Press

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SSAA 
$45.00
Forget About the Boy Forget About the Boy
Deke Sharon - UNC Jazz Press

Fast and playful this hit from the recent Tony award winning Broadway musical "Thoroughly Modern Millie" features close harmony chords and a melody that bounces between the alto, mezzo and soprano. Shades

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SSATB 
$55.00
The Sound of Silence The Sound of Silence
Deke Sharon - UNC Jazz Press

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SSAA 
$45.00
Blackbird Blackbird
arr. Paris Rutherford - Hal Leonard Corporation

Opening with a wordless introduction that evokes the rhythmic and melodic motives of the song, this Beatles classic moves into the familiar verse, but with certain phrases elongated or ornamented to heighten... view details
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Michelle Michelle
John Lennon & Paul McCartney/arr. Paris Rutherford - Hal Leonard Corporation

This setting of the 1965 classic by The Beatles showcases the purity of a cappella voices. The opening and closing are largely homophonic, with a quasi-Baroque middle section adding interest. Harmonic

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