Anything Goes (from the musical Anything Goes): SATB Choral Octavo

Philip Kern's arrangement captures the effervescent spirit of the original without sacrificing the harmonic sophistication that makes Porter's music so rewarding to sing. The opening solo provides a moment of vulnerability before the full choir erupts into the infectious energy of the chorus, giving your ensemble a chance to shine both individually and collectively.

Effervescent, clever, and undeniably theatrical, this arrangement captures the swagger of Porter's original while keeping it fresh for modern singers. The piece swings with urban sophistication, mixing sophisticated harmony with a melody so contagious it lodges itself in your brain for days.

This octavo works beautifully for intermediate to advanced treble or mixed choirs looking for accessible yet musically substantial Broadway material. Directors seeking a show-stopping closer that combines vocal appeal with legitimate compositional craft will find it invaluable for concert or festival programming.

• Anchor the rhythm section to the piano accompaniment; this arrangement thrives on the syncopated energy between choir and accompanist, so rehearse them together early.
• Shape the opening solo line with careful attention to Porter's lyrical phrasing rather than rhythmic precision alone; let the character of the words guide the breath and expression.
• Balance the ensemble parts so that the memorable melodic hooks remain audible even when multiple voice parts are singing simultaneously; transparency matters more than volume.
• Lean into the syncopation and swing feel of the arrangement, especially in the refrain; a too-rigid interpretation flattens Porter's sophisticated rhythmic vocabulary.

Program this as a finale or act closer on concerts where you want to send the audience out smiling; its theatrical charm and familiar Porter sophistication pair well with other jazz-inflected standards or contemporary choral works. It also serves as an excellent teaching piece for singers learning to navigate syncopation and swing style in a historically grounded context.

• Singing syncopated rhythms and swing feel in a choral setting
• Balancing solo writing with ensemble texture
• Navigating Porter-style harmonic language and chromaticism
• Projecting character and theatricality in a Broadway idiom