A Lot Of Livin' To Do: Choral Instrumental Pak

This arrangement captures the irreverent energy of the original without drowning your ensemble in complexity. Ed Lojeski's voicing for combo forces means your singers stay front and center while the orchestration adds genuine swagger rather than padding. It's a piece that teaches students how rock 'n' roll sensibility works inside a choral context, which is increasingly valuable territory for modern concert programs.

Pure kinetic energy wrapped in three harmonies. The piece bounces with the kind of optimism that only early rock 'n' roll can deliver, complete with the swagger of a production number that knows exactly what it is. There's genuine joy here, tinged with just enough attitude to keep things interesting.

Choral directors seeking repertoire that appeals across age groups and skill levels while still delivering musical substance. This works for show choir, concert choir, and pop ensembles that want a showcase piece with genuine theatrical credentials. Schools planning a "Bye Bye Birdie" production or building a concert around mid-century American musical theater will find this invaluable.

• Nail the rhythmic pocket early. The swing lives in how tightly your ensemble locks with the instrumental parts, so rehearse the rhythm section (or recorded accompaniment) as a unit before layering voices. Precision here makes everything else click into place.
• Let the rock sensibility breathe through your diction. These lyrics demand a lighter, more conversational articulation than traditional show music. Your singers should feel the vernacular language in their mouths.
• Balance the bass line with vocal blend. In sections where lower voices move, ensure they're anchoring the harmony without muddying the soloistic moments above them.
• Commit to the comedic intent. This piece works when your performers believe they're having fun. Restraint will flatten it; generosity will make it sing.

This sits perfectly as a closing piece or second-half opener on a concert mixing classical and contemporary work. It signals to your audience that your singers are comfortable in multiple musical worlds, and it provides the kind of audience engagement you need after heavier repertoire. Pair it with other show music from the same era, or use it as a standalone statement about choral versatility.

• Rock 'n' roll rhythmic vocabulary (backbeat, syncopation within duple meter)
• Singing legibly in a pop/theatrical style without sacrificing vocal production
• Ensemble coordination across combo voicing and instrumental parts
• Communicating character and comedic intent through performance