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

Philip Kern's arrangement captures the infectious energy of Porter's original without sacrificing the harmonic richness that makes this song a standard. The featured soprano solo in the opening creates a natural spotlight moment that builds anticipation before the full choir enters, while the SSAA voicing remains accessible for mixed-ability ensembles. The piano accompaniment stays true to Porter's style, giving your musicians a genuine Broadway sound to sing against.

Optimistic, swinging, and unapologetically theatrical. The song embodies the exuberance of 1930s musical comedy, with a melody that bounces forward and harmony that feels both jazz-inflected and elegant. From the solo's confident opening through the full choir's spirited final statements, the piece radiates confidence and joy.

Choir directors seeking a high-energy showstopper for mixed treble voices that doesn't require large instrumental forces. Intermediate to advanced treble choirs will find the SSAA voicing manageable while still offering sophisticated harmonic and rhythmic content. This arrangement also works well for programs mixing classical and Broadway repertoire.

• Begin the solo section with rhythmic clarity and bright articulation; the piano part moves in a straight-ahead style that supports a crisp, energetic delivery.
• Shape the choral entrances to build momentum gradually, avoiding a sudden jump in volume that can undercut the arrangement's natural phrasing.
• Balance the treble voices carefully in the harmonic sections; Porter's extended chords need clarity on all four parts to land their full effect.
• Work the accompaniment recording if available to establish tempo and allow singers to hear how the choral lines sit within the orchestral context.

Program this as an act closer or finale when you want to send the audience out with energy and warmth. It pairs especially well with other standards and American musical theater selections, and works equally effectively on a concert celebrating Broadway composers or on a lighter spring pops program. The 16-page octavo makes it substantial enough to anchor a set without demanding extensive rehearsal time.

• Singing syncopated rhythms in a jazz-influenced style
• Balancing four-part harmonic voicing with clarity on extended chords
• Executing clean rhythmic entries in staggered choral phrases
• Interpreting stylistically appropriate diction and phrasing for Broadway repertoire
• Blending a solo voice with full choral sound in a single arrangement