Before The Parade Passes By: SAB Choral Octavo

Hayes understands what makes a Broadway standard singable for mixed voices at the high school and community college level. His SAB voicing preserves the song's theatrical character without sacrificing the harmonic sophistication his arrangements are known for, and the 15-page score provides enough detail to support a polished performance without overwhelming less experienced ensembles.

A number that radiates theatrical confidence and joy. Hayes's arrangement maintains the song's signature optimism and propulsive momentum while adding harmonic color and textural variety that reward sustained listening. There's warmth in the writing, never overshadowed by arranging cleverness.

This arrangement serves mixed voice choirs from advanced high school through community and church settings that have reliable sopranos, altos, and baritones. Ensembles comfortable with contemporary choral literature and eager to program Broadway material beyond standard pops medleys will find a substantial, respectfully crafted vehicle.

• Balance the melodic line between sopranos and altos in passages where they share material; the arrangement asks both voices to carry weight, so neither should recede into a purely supportive role.
• Shape the baritone part with attention to harmonic movement rather than treating it as mere bass support; Hayes often writes moving inner voices that drive the song's emotional arc.
• Let the text dictate your phrasing and dynamics more than a metronomic beat would suggest. Broadway idiom thrives on natural speech inflection and rubato, especially around climactic moments.
• Invest rehearsal time in ensemble vowel shaping for the block chords that frame the main tune; the arrangement's clarity depends on precision in these moments.

Consider this for a spring or end-of-year concert where you want to offer your ensemble a theater song with genuine musical substance. It pairs effectively with other American standards or can anchor a Broadway-themed set alongside lighter fare. The 15-page length makes it substantial enough to justify programming time without consuming an entire rehearsal block.

• Singing Broadway idiom with authentic phrasing and diction
• Balancing melody and harmony across three active voice parts
• Reading and executing syncopated rhythmic figures common to theater music
• Ensemble vowel unification in homophonic sections
• Maintaining musical line and shape through longer phrases without losing forward motion