A Lot of Livin' to Do (from the musical Bye, Bye, Birdie): SATB Choral Octavo

Greg Gilpin's arrangement captures the infectious energy of Strouse's original while staying firmly in the wheelhouse of SATB choirs. The voicing is singable without sacrificing the punch of the production number, and the 12-page score gives you enough room to build real momentum and dynamics without feeling bloated.

Optimistic and unbridled; the kind of song that practically bounces off the page. There's a youthful exuberance woven through every phrase, paired with the harmonic sophistication that marks Strouse's writing. Singing it feels like being part of something celebratory.

Show choirs preparing a full Bye, Bye, Birdie production will find this arrangement indispensable, but concert choirs looking to inject a burst of joy and accessibility into a program will love it too. The piece works equally well in a school or community setting where singers need a number that's genuinely fun to perform and built on a melody everyone leaves humming.

• Keep the rhythmic drive steady from the first measure. This number lives on forward motion; any sluggishness will drain the excitement that makes it work.
• Balance the voices so soloists can land their moments without the choir drowning them out. The arrangement likely features section leads or featured singers, so rehearse those roles separately early.
• Use the recorded accompaniment as a rehearsal tool to lock in the groove before you shift to singing with live accompaniment if you have one available.
• Shape the dynamics with the text. Follow the emotional arc of the number rather than singing at one volume throughout; the arrangement will have natural climbs that reward careful attention to phrasing.

This works as a standalone concert piece when you want a lighter moment in an otherwise serious program, or as the centerpiece of a Broadway or pop music themed concert. It's also an excellent choice for a finale or closer, especially at festivals or community performances where audiences respond to uplifting, high-energy choral work.

• Maintaining rhythmic precision in uptempo, syncopated material
• Singing with clear diction at a brisk tempo
• Balancing individual and ensemble sound
• Shaping dynamic contrasts within a single phrase
• Connecting to Broadway performance style and convention