Bashana Haba'ah (arr. John Leavitt): TTBB Choral Octavo

John Leavitt's arrangement honors the song's infectious optimism while crafting genuine four-part writing that keeps all voices engaged. The piece sits perfectly in the sweet spot where multicultural programming meets concert sophistication, and your singers will feel the joy of the text throughout every rehearsal.

A song built on quiet confidence and forward momentum. The melody carries warmth and resilience, paired with harmonies that feel natural and inevitable, creating an arrangement that sounds both contemporary and timeless.

Male choirs seeking repertoire that celebrates a cultural classic without requiring previous familiarity with the song. This works equally well for high school programs and community ensembles wanting to add substance to festival or concert seasons.

• Emphasize the declarative quality of the opening phrases; this is an affirmation, not a request. The rhythm should feel buoyant and grounded.
• Balance the harmonic motion carefully in transitions between sections. Leavitt's voice leading rewards precise intonation, particularly in the inner voices.
• Let the text drive the dynamic shape. Bashana Haba'ah means 'the coming year,' and the arc should build toward hope without overplaying.

Include this as a programming bridge between traditional concert fare and world music repertoire, or pair it with other Hirsh songs to create a mini Israel-focused set. It works beautifully as a closer that leaves audiences reflecting on the text's themes of renewal and anticipation.

• Singing in a non-English language with accurate vowels and phrase shaping
• Four-part harmonic independence, particularly for tenor and baritone lines
• Stylistic distinction between song-like melodic writing and choral texture
• Connection between cultural context and emotional delivery