Be Nice (feat. Snoop Dogg) (arr. Alan Billingsley): SATB Choral Octavo

Alan Billingsley's arrangement captures the infectious optimism of the original while giving choirs genuine four-part writing that doesn't condescend to singers or oversimplify the groove. Programming this piece signals to students that contemporary pop belongs in concert settings, and the positive message paired with engaging harmonies makes it a crowd-pleaser that doesn't sacrifice musicality.

Upbeat and inclusive, with a conversational tone that feels like a musical hug. The arrangement radiates good intention without ever veering into saccharine territory; instead it maintains the cool, effortless vibe of the original while letting voices carry the message forward together.

Choirs seeking contemporary material that bridges the gap between popular music and concert repertoire. This works for programs that already mix traditional and modern work, or for directors introducing pop arrangements as a pathway to engagement with students who might not otherwise audition for choir.

• Establish the pocket early in rehearsals by isolating rhythm section figures (ideally with recorded accompaniment or a rhythm section learning the groove from the original recording). The arrangement's strength depends on confident, laid-back timekeeping rather than strict metronomic accuracy.
• Balance vocal layers carefully during sections where multiple parts carry melodic or harmonic material simultaneously. Sopranos should anchor the top line without covering the alto countermelody or tenor movement.
• Treat dynamics as a conversation between soloist and ensemble. Snoop's verses invite a more intimate sound from backing voices, while the chorus opens up to full four-part texture. This shift in energy mirrors the original's production.
• Pay attention to vowel consistency on sustained syllables, particularly in the chorus where long notes sit over rhythmic accompaniment. Blend matters more when resting on a groove rather than pushing forward through phrase momentum.

Feature this as a finale on a concert that includes both classical and contemporary work; the optimistic message and accessibility create a satisfying send-off. It also serves as an effective audience-building piece when promoted to general music students who might attend specifically to hear a familiar song performed live by their classmates.

• Singing over a rhythmic groove without rushing or lagging
• Balancing ensemble blend across four-part texture with independent melodic lines
• Interpreting style and character in contemporary pop idiom
• Coordinating syllabic clarity in tight, syncopated passages