All I Need Is the Girl Cover Image

All I Need Is the Girl: Choral Octavo SoundTrax CD

$27.99 USD
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All I Need Is the Girl Cover Image

All I Need Is the Girl: Choral Octavo SoundTrax CD

From the Musical Gypsy

Lyrics by Stephen Sondheim, music by Jule Styne / arr. Larry Shackley

Item: 00-35643

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Description
Performed by Glee's Matthew Morrison during the 2010 Tony Awards, this sophisticated and tasteful tune from the musical Gypsy is the ultimate feature for your men. Sure to bring the house down!

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Additional Details
Series: Alfred Pop Choral Series
Publisher: Alfred Music
UPC: 038081398396
SKU: 00-35643

More about this title

About the Composer: Jule Styne

Jule Styne (1905-1975) composed the scores for some of Broadway's most enduring musicals, including Gypsy, Funny Girl, and Bells Are Ringing. His gift for writing memorable melodies that sit comfortably in the voice made his songs perennial favorites for performers across genres. Styne's work remains a cornerstone of the American musical theater canon, performed regularly in schools, theaters, and concert halls worldwide.

For music educators, Styne's compositions offer exceptional opportunities to teach songwriting craft. His melodies have clear shape and purpose; his harmonies are sophisticated yet singable. Gypsy in particular showcases his ability to write songs that reveal character while remaining accessible to student performers.

Why we love this

This arrangement gives your men a feature that commands attention without relying on vocal pyrotechnics. Larry Shackley's sophisticated voicing respects the song's inherent elegance while providing the harmonic richness that makes this standard feel substantial in a choral setting. The recorded accompaniment lets you focus on musical shape and character rather than managing complex piano parts.

What to expect

Wistful and introspective, with an undercurrent of yearning. The song has the intimate quality of a confessional moment, one character opening their heart about what truly matters. There's tenderness here, never sentimentality.

Who it's for

Men's choirs and mixed ensembles seeking a feature that showcases depth and maturity. This octavo works equally well for high school groups with strong singers and college or community choirs looking for a Broadway standard that feels sophisticated rather than theatrical.

How to get the most out of it

  • Balance the melody prominently without letting it overshadow the harmonic foundation. The arrangement's sophistication depends on hearing all four voice parts working together.
  • Shape the phrases with a singer's sensibility. Think in terms of breath and emotional arc rather than measure-by-measure uniformity.
  • Use the recorded accompaniment to anchor tempo and ensemble cohesion during early rehearsals, then gradually shift to internal pitch matching without it.
  • Attend to diction clarity in the ensemble passages. Consonants need to speak so the text lands alongside the melody.

How to use it

Program this as a standalone feature that breaks up a concert's energy without creating jarring contrast. It pairs well on a Broadway-themed concert or as a transition between energetic ensemble pieces and slower balladic material. The piece also works effectively as a recital number for showcasing your top men's section.

Skills your students will build

  • Phrasing and legit Broadway style in a choral context
  • Four-part blend and balance with clear melodic priority
  • Reading sophisticated harmonic movement while maintaining intonation
  • Interpreting emotional subtext in a secular song narrative

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