All For The Best: SATB Choral Octavo

Mac Huff's arrangement captures the infectious optimism of Schwartz's composition while keeping the part writing singable for mixed choirs of varying experience levels. The novelty aspect gives you permission to have fun with it, but the underlying craft reminds singers why this song endures in the musical theater repertoire.

Optimistic and propulsive, with the kind of harmonic warmth that makes singers feel good about their blend. There's lightness here, but also genuine conviction. The arrangement sits comfortably in the voice while maintaining musical interest across all four parts.

Choirs looking for an uplifting concert piece with Broadway appeal and built-in audience recognition. This works equally well as a seasoning piece on a longer program or as a standalone showcase for your SATB section.

• Balance the rhythmic momentum across all four parts; this arrangement thrives on precision without sounding mechanical. Mark the spots where parts interact vs. move independently so singers understand the texture.
• Let the text shape your dynamics rather than imposing a predetermined curve. The lyrical content shifts tone frequently, and allowing that natural ebb and flow makes the arrangement breathe.
• Lock in the harmonic rhythm during rehearsal by having singers identify chord changes and how long each harmony sits. This builds awareness of why Huff voiced things as he did.

Position this in your concert's second half where it can lift energy after more serious fare. The theatrical connection makes it particularly effective in spring concerts or as a standalone performance opportunity when you want to showcase your ensemble's range beyond classical or sacred repertoire.

• Singing syncopated rhythms within a steady harmonic framework
• Balancing independent part movement while maintaining overall phrase shape
• Connecting theatrical text delivery with musical expression in an arranged context
• Hearing and matching vowel consistency across SATB voicing