Anything Goes: SATB Choral Octavo

Teena Chinn's arrangement captures the wit and energy of Porter's original while making it genuinely fun to sing in four parts. The arrangement's invitation toward movement and staging gives choirs permission to be theatrical, which often unlocks ensemble enthusiasm in ways that reverent classical literature cannot. It's a crowd-pleaser that doesn't feel cheap.

Bright, confident, and unapologetically fun. The song swings with the carefree optimism of Golden Age Broadway, inviting singers and listeners alike into a moment of theatrical joy. There's sophistication in Porter's harmony beneath the charm, giving choirs substance to dig into alongside the entertainment value.

Any SATB choir looking to program Broadway repertoire that feels current and engaging without sacrificing choral craft. This arrangement works equally well in high school, community, and college settings where directors want to build audience connection through familiar material.

• Balance the rhythmic vitality of the accompaniment with clarity of text; the bounce in the music can easily overshadow lyrical articulation if the choir isn't listening actively.
• Explore the staging possibilities early in rehearsal rather than adding movement as an afterthought. Chinn's writing supports choreography, so commit to physical choices from the first run-through.
• Shape the phrasing in conversation with the harmonic rhythm, which moves briskly. Avoid letting quarter-note passages flatten into metronomic delivery.
• Use the optional instrumental parts to add color and momentum once the vocal parts are secure. The parts elevate the arrangement from purely vocal to fully theatrical.

Schedule this as a finale or second-to-last piece in a concert where you want the audience leaving energized. Its theatrical DNA makes it a natural fit for pops concerts, spring shows, or programming that mixes classical and popular repertoire. Pair it with other American standards or with contrasting choral works to showcase your ensemble's range.

• Rhythmic precision in swing-influenced syncopation
• Lyrical clarity and text articulation in fast-moving passages
• Dramatic expression and stage presence in a theatrical context
• Ensemble balance when voicing rapid harmonic changes
• Coordination with instrumental accompaniment