42nd Street Cover Image

42nd Street: 3-Part Mixed Choral Octavo

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42nd Street Cover Image
42nd Street: 3-Part Mixed Choral Octavo

42nd Street: 3-Part Mixed Choral Octavo

Words by Al Dubin, music by Harry Warren / arr. Carl Strommen

Item: 00-CH9906
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Description
Harry Warren was one of the great songwriters of the 30s. Classic movie buffs will recall the scene of Dick Powell and Ruby Keeler tap dancing on the top of a taxi cab in the movie version of "Forty Second Street." A fantastic Strommen arrangement!

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, 42nd Street: 3-Part Mixed Choral Octavo comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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Additional Details
Series: Alfred Archive Edition: Alfred Pop Choral Series
Publisher: Alfred Music
Page Count: 12
UPC: 029156957945
SKU: 00-CH9906

More about this title

About the Composer: Harry Warren

Harry Warren (1893-1981) composed some of the most enduring popular songs of the 1930s and 1940s, with a gift for melody that made his work instantly memorable and widely recorded. His songs for Hollywood films, including "42nd Street," "Gold Diggers of 1933," and "Lullaby of Broadway," became standards of the American songbook and established him as one of the era's most prolific and successful composers.

Warren's music defined the sound of early movie musicals. His ability to write tunes that were both sophisticated and accessible made his work ideal for theatrical adaptation and, decades later, for choral arrangement. Music educators continue to program his songs because they combine strong melodic lines with the infectious energy that made 1930s musicals so compelling.

Why we love this

Carl Strommen's arrangement captures the infectious charm and showstopper appeal of this classic without overcomplicating the voicing, making it genuinely singable across three parts. The recorded accompaniment option lets you rehearse confidently, and the arrangement sits beautifully in the choral range while preserving the song's theatrical energy. Directors appreciate that this is a crowd-pleaser that doesn't demand soloists but still delivers genuine entertainment value.

What to expect

Bright, witty, and full of theatrical flair, this arrangement sparkles with the optimism and comedic energy of 1930s musical cinema. The melody bounces along with irresistible charm, and the three-part voicing creates natural harmonic movement that feels effortless to sing.

Who it's for

Choirs at the middle school level and above who want a fun, recognizable number that appeals to mixed ensembles without requiring advanced vocal technique. Directors programming concert or spring shows appreciate that it's engaging for singers and audiences alike, and students enjoy the cultural connection to a famous film moment.

How to get the most out of it

  • Lean into the rhythm and let the accompaniment drive the tempo; this song thrives on forward momentum, so avoid dragging the pulse even in rehearsal.
  • Balance the three parts so the melody stays prominent without forcing the sopranos or altos to oversing; the arrangement supports the tune from below.
  • Articulate consonants cleanly, especially on repeated syllables in the text, to capture the crisp, energetic character of 1930s comedy.
  • Use the recorded accompaniment to lock in the phrasing; it clarifies exactly where the rhythmic hits and comic moments should land.

How to use it

Program this as a contrast piece in a concert mixing classical and popular repertoire, or use it as a fun finale to a spring show or pops concert. The 12-page length makes it manageable to learn without overshadowing more substantial works on your program.

Skills your students will build

  • Phrasing and rhythmic precision in popular music style
  • Balancing melody and supporting harmony in three-part voicing
  • Singing with theatrical style and character
  • Reading and performing with recorded accompaniment
  • Clear diction in comedic musical theater contexts

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