Come What May (from Moulin Rouge) (arr. Kevin Keller): SSAA Choral Octavo

Kevin Keller's SSAA voicing captures the intimacy of this duet while making it accessible to most choirs. The arrangement respects the song's emotional core without overshooting vocal demands, allowing singers to focus on the storytelling that makes this arrangement memorable.

Lush and tender, with moments of soaring intensity. The arrangement sits in the upper register, creating a bright, ethereal quality that mirrors the film's dreamlike aesthetic. There's genuine vulnerability in the harmonic choices that invite singers to connect personally with the text.

Choirs at the intermediate to advanced level looking for a contemporary secular piece that appeals across age groups. This works well for treble choirs or mixed ensembles rearranging for SSAA, whether for concert programming or specific performance opportunities.

• Shape the phrasing as a conversation between the soprano sections; this isn't a unison song, so clarity about who carries the melody at each moment keeps the narrative intact.
• Balance the inner voices carefully during the harmonic moments. The altos provide crucial support, but they shouldn't disappear when upper sopranos have the line.
• Let the dynamics breathe with the text. This piece earns its emotional impact through contrast, not volume; use space and silence as much as you use sound.

Perfect for spring or romantic-themed concerts. This pairs naturally with other contemporary film or musical theatre selections, or it can serve as a standalone feature that bridges classical choral traditions with popular music appreciation. The five pages make it manageable for concert programs without requiring excessive rehearsal time.

• Singing sustained lines with consistent vibrato control
• Balancing soprano and alto roles in a duet framework
• Interpreting contemporary harmonic language
• Shaping phrase contours based on lyrical text