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

Philip Kern's arrangement captures the infectious energy and sophistication of Porter's original while serving the specific needs of a choral ensemble. The solo opening creates a natural performance spotlight, and the choral writing balances accessibility with genuine harmonic interest, making this an arrangement that satisfies both singers and audiences.

Stepping into a 1930s Broadway theater with sass, sophistication, and pure theatrical joy. The melody soars with confidence, the harmonies shimmer with jazz-age elegance, and the rhythms pulse with the energy of a song born to make audiences smile and move.

Any SATB choir seeking accessible yet stylish Broadway material that delivers audience appeal without sacrificing musical substance. This works equally well for high school show choirs, community theater ensembles, college choral groups, or concert choirs looking to program something beyond classical and contemporary art music.

• Treat the opening solo as a confident musical statement, not merely an introduction. The soloist sets the tone for the whole piece, so choose someone secure in style and comfortable with rhythmic freedom.
• Lock the rhythmic precision in the chorus sections; Porter's syncopation demands clean attacks and releases, especially on the jazz-inflected figures that give this piece its character.
• Balance the piano accompaniment carefully. Porter's harmonic sophistication comes through the keyboard, so ensure it's neither buried nor dominating.
• Emphasize the text's comedic and spirited quality. This is a showstopper, not a ballad; the singing should convey joy and theatrical flair.

Program this as a second-half opener or finale to balance a concert heavy on classical or liturgical music. It pairs naturally with other Porter standards or other mid-century musical theater selections, or stands alone as an audience favorite that reminds listeners why Broadway music has enduring appeal.

• Singing with swing and syncopation, especially in jazz-influenced rhythmic figures
• Ensemble balance and blend in four-part SATB voicing with sophisticated harmonies
• Stylistic awareness of Broadway music and 1930s song idioms
• Confidence in approaching solo sections and featured moments
• Interpretation of text for theatrical effect and comedic timing