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

Philip Kern's arrangement captures the swagger and charm of Porter's original while making it singable for mixed voices without sacrificing any of the song's theatrical impact. The opening solo gives you a natural moment to showcase a standout voice, while the ensemble writing stays busy and engaging throughout. This is the kind of showstopper that reminds audiences why they came to the concert.

Buoyant and urbane, with the effortless charm of a performer who knows exactly how to work a room. There's sophistication in the harmony and groove in the rhythm, creating that distinctive Porter sound that feels both polished and playfully irreverent.

Choirs seeking a number with genuine showmanship and Broadway credibility will find this arrangement accessible yet sophisticated. It works for groups with solid musicianship who can navigate Porter's harmonic language and for singers who enjoy the theatrical energy of mid-century musical theater.

• Lock in the rhythmic buoyancy of the accompaniment early in rehearsal; Porter's syncopation demands precision, but the goal is to feel sprightly, not stiff.
• Shape the soprano line through the chorus sections to maintain clarity even when harmonies thicken; this line carries the melody.
• Let the soloist find the character in the opening moment; Porter wrote sophisticated material for performers with personality, so encourage stylistic choices rather than perfect restraint.

Program this alongside other standards from the Golden Age of Broadway or as the opener for a concert celebrating American musical theater. Its energy and familiarity make it an excellent choice for mixed audiences and pops-style programming.

• Singing through syncopated rhythmic patterns and Porter's characteristic harmonic movement
• Balancing a soprano-driven melody with supporting alto and second soprano lines
• Interpreting period style and theatrical character in choral performance
• Ensemble clarity when navigating the accompaniment's rhythmic independence from the vocal lines