Call Me Maybe: 2-Part Choral Octavo

Mark Brymer's 2-part setting captures everything that made this song irresistible while keeping the vocal writing straightforward enough for developing singers. The arrangement respects the original's pop sensibility rather than drowning it in traditional choral conventions, making this a genuine crowd-pleaser that still demands musicianship.

Catchy, bright, and genuinely fun. The melody has that quality that lodges itself in listeners' heads immediately, while the two-part writing keeps things conversational and modern. There's an undeniable lightness here, but that doesn't mean the singing can be lightweight.

This works for middle school and high school choirs looking to program contemporary material that audiences actually recognize. It's ideal for singers who engage more readily with songs from their own musical world, and it gives your ensemble a chance to show versatility beyond traditional classical or musical theater fare.

• Keep the groove locked. "Call Me Maybe" lives and dies by its rhythmic pocket, so rhythmic precision from your singers matters more than expressive rubato.
• Lean into the conversational tone of the lyrics. The song works best when singers treat it like they're actually talking to someone, not performing a formal concert piece.
• Balance the parts carefully in the second verse. The two-part texture can easily tip toward one voice dominating; aim for equal presence unless the arrangement specifies otherwise.
• Consider your accompaniment mix. A well-balanced recorded track that doesn't overpower the voices will let your singers shine while maintaining the song's contemporary energy.

Slot this into a pop or contemporary set as a centerpiece that will draw applause from your audience. It pairs well alongside other recent pop arrangements, works beautifully as a concert closer, or functions as an excellent opener if you're building toward something more formal in your program.

• Singing in contemporary pop style while maintaining vocal technique
• Rhythmic accuracy in straight-eighth and syncopated contexts
• Part independence in two-part writing without relying on unison
• Articulation and diction in conversational, speech-like phrasing
• Responding to and working with recorded accompaniment tracks