A Wonderful Day Like Today (arr. Greg Gilpin) Sheet Music Preview

A Wonderful Day Like Today (arr. Greg Gilpin): 2-Part Choral Octavo

As performed by Leslie Bricusse Anthony Newley / Arranged by Greg Gilpin

Item: 35-DS00430095

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Additional Details
Publisher: Hal Leonard
Page Count: 8
SKU: 35-DS00430095

More about this title

About the Artist: Leslie Bricusse Anthony Newley

Leslie Bricusse and Anthony Newley were the songwriting team behind some of the most enduring Broadway and popular standards of the 1960s. Bricusse, a lyricist and composer, and Newley, an actor and performer who also composed, created music that bridged theatrical sophistication with genuine popular appeal. Their catalog includes songs that have become jazz standards and repertoire staples, performed by artists across genres for decades.

Their work is characterized by clever, conversational lyrics paired with melodies that sit naturally in the voice. For music educators, their compositions offer accessible entry points into jazz idiom and American songbook tradition without sacrificing musical substance or wit.

Why we love this

Greg Gilpin's 2-part setting makes this beloved standard genuinely singable for younger or less experienced choirs while preserving the jazz sensibility and harmonic sophistication of the original. The arrangement respects the tune's infectious optimism without oversimplifying it, giving singers real musical content to work with across the two parts.

What to expect

Buoyant and urbane, with a touch of cool. The harmony is modern enough to feel contemporary, yet the melody lands with the ease of something you already know. There's a wink in the musicality here; this isn't earnest or heavy, but it's never lightweight either.

Who it's for

This arrangement opens up this Newley and Bricusse classic to middle school choirs, developing high school groups, or any ensemble seeking an accessible jazz standard with genuine sophistication. It's equally valuable for concert choirs looking to expand beyond classical repertoire into the American songbook.

How to get the most out of it

  • Balance the melody against the countermelody in the second part; both lines deserve clarity, and neither should dissolve into pure accompaniment.
  • Shape the phrasing around the lyrical content rather than the bar line. The conversational quality of these words demands natural speech rhythms underneath the melody.
  • Lean into the jazz inflections subtly. This isn't bebop, but small expressive choices in articulation and dynamic shaping will bring the bluesy charm out of Gilpin's harmony.
  • Use the text's optimism as your emotional anchor. The sophistication of the arrangement serves a fundamentally uplifting message.

How to use it

Pair this with other jazz standards in a spring concert focused on American songbook traditions, or use it as a contemporary contrast in a program mixing classical and popular idioms. Its eight pages and accessible voicing make it a smart choice for a pop concert or as a morale-building piece mid-season when rehearsing challenging classical repertoire.

Skills your students will build

  • Jazz inflection and jazz articulation style
  • Part independence in two-part writing
  • Harmonic listening in extended jazz harmony
  • Lyrical phrasing and text-driven musicality
  • Blend and balance of melody against countermelody

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