And So It Goes (arr. Craig McLeish): SSATB Choral Octavo

Craig McLeish's arrangement respects the intimacy of Joel's original while opening it up for choir voices. The SSA/SSAA voicing makes this achievable for many programs without sacrificing the song's reflective character. Four pages is a reasonable commitment for a piece that delivers genuine emotional impact in performance.

The song carries a quiet resignation and acceptance. Joel's melody moves with gentle inevitability, and the arrangement allows space for reflection rather than pushing toward dramatic climax. Singers will find themselves drawn into the contemplative mood, which transfers directly to the audience.

This works well for treble and mixed choirs seeking repertoire that bridges the pop and choral worlds. It suits groups with solid musicianship who can handle the lyrical demands without extensive technical reworking. Conductors programming concerts that include contemporary material alongside standards will find this a natural fit.

• Balance the soprano line carefully in the opening sections; it should soar without overwhelming the harmonic foundation beneath it.
• Attend to the text throughout. Joel's lyrics carry specific weight, so encourage singers to connect each phrase to its meaning rather than treating words as pure sound.
• Let the piano part breathe where McLeish has written space; the arrangement likely includes moments of accompaniment that frame the voices rather than fill every silence.
• Shape the dynamic contour across longer phrases so the piece builds naturally rather than staying at one emotional level.

Consider placing this as a centerpiece in a program exploring themes of change or letting go; its emotional clarity makes it memorable without requiring contextual framing. It also serves well as a contemporary anchor in a concert that otherwise draws from classical or musical theatre repertoire. The modest length allows flexibility in concert construction.

• Phrasing in contemporary pop arranged for voices
• Sustained legit singing in upper register (soprano)
• Harmonic listening in four-part voicing
• Text interpretation and emotional expression
• Managing dynamics across longer melodic lines