Both Sides Now: SATB Choral Octavo

This arrangement honors the song's contemplative architecture while giving each voice section meaningful melodic material. John Leavitt's piano writing creates a shimmering harmonic foundation that supports the choir without overwhelming it, making this accessible for intermediate ensembles while remaining musically substantive enough to reward careful rehearsal and interpretation.

Shimmering and introspective, this arrangement creates moments of genuine stillness while the harmony shifts beneath the surface. The shifting perspective of the text mirrors the harmonic movement, creating a piece that feels both intimate and expansive.

SATB choirs at the intermediate level and above will find this arrangement accessible but rewarding. The voicing sits well across all four parts, and the melodic distribution keeps every singer engaged without requiring advanced vocal technique.

• Balance the melody across voice parts as it passes from section to section; mark your score to identify where the primary line lives in each phrase so every singer understands their role in the overall shape.
• Lean into the reflective quality by resisting the urge to rush the tempo. This song asks for space and breath, which allows the harmonic shifts to land with clarity and emotional weight.
• Use the recorded accompaniment during early rehearsals to anchor pitch and tempo, then gradually move toward singing with the piano so the ensemble owns the phrasing and breathing.

This works beautifully as a centerpiece for a concert exploring how contemporary songs function as art music, or as a sophisticated closer that leaves audiences in a reflective mood. The piece's lyrical sophistication also pairs well alongside art song and classical choral literature on the same program.

• Tracking a moving melodic line across different voice parts
• Blending and balancing in four-part harmony
• Sustaining lyrical phrasing across longer phrases
• Interpreting harmonic color and emotional subtext