But the World Goes 'Round: SSA Choral Octavo
Lyrics by Fred Ebb, music by John Kander / arr. Mark Hayes
Item: 00-PO-0007270
$2.45
Minimum order quantity: 20 copies
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Description
Most notably performed by Liza Minnelli, this Kander & Ebb classic returned to Broadway in the musical New York, New York. Mark's razzmatazz arrangement is a bonafide blockbuster, with showbiz sonorities, hard-hitting swing feel, and full-throttle emotions at the spotlight chorus. "Sometimes you're happy, and sometimes you're sad, but the world goes round."
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Additional Details
Series:
Alfred Pop Choral Series
Publisher:
Alfred Music
Page Count:
16
SKU:
00-PO-0007270
More about this title
About the Composer: John Kander
John Kander is a Tony Award-winning composer whose theatrical music has defined American musical theater since the 1960s. Collaborating primarily with lyricist Fred Ebb, Kander created some of Broadway's most iconic scores, including Cabaret, Chicago, and Zorba, known for their sophisticated harmonies, rhythmic vitality, and emotional directness.
Why we love this
Mark Hayes' arrangement captures the song's irrepressible spirit without losing the intimate vulnerability at its core. The SSA voicing works brilliantly for treble-heavy choirs while the swing groove and jazz harmonies keep the energy high and the emotional payoff genuine. This is one of those pieces that sounds as good as it feels to sing.
What to expect
Brassy, optimistic, and defiantly life-affirming. The piece swings with theatrical flair while maintaining the tender wisdom of its lyric. It's the musical equivalent of getting up after life knocks you down, dressed to the nines and ready to dance.
Who it's for
Treble choirs seeking Broadway material that combines accessibility with musical sophistication. This works equally well for high school and community choirs looking to add a showstopper to their concert that audiences will recognize and love.
How to get the most out of it
- Anchor the swing feel in the rhythm section; if you have recorded accompaniment available, lock the ensemble into its groove early in rehearsal so singers can focus on phrasing and dynamics rather than timekeeping.
- Shape the spotlight chorus with full vocal power and clear diction. The lyrics carry the emotional weight here, so make sure every word lands.
- Balance the upper voices carefully during harmonic moments; SSA scoring can lead to muddy sonorities if sopranos and first altos aren't singing with separation and clarity.
- Use dynamic contrast between verses and the razzmatazz sections to let the arrangement's personality shine through.
How to use it
Program this as a concert finale or a standalone feature in a pops show. It pairs naturally with other jazz-inflected Broadway material and works beautifully as a contrast to classical or a cappella selections. The arrangement's energy makes it an ideal closer that sends audiences out smiling.
Skills your students will build
- Swing rhythm interpretation and groove internalization
- Singing jazz harmonies and chromaticism with intonation control
- Balancing ensemble blend with treble voicing techniques
- Projecting character and emotional storytelling in a secular, theatrical context
- Sustained legit singing over an energetic rhythmic foundation