Crazy Little Thing Called Love (arr. Hans Reintjes): SSATB Choral Octavo

Hans Reintjes captures the infectious hook and rhythmic drive of this Queen classic while giving it genuine choral substance. The SSATB setting keeps the arrangement accessible without sacrificing the song's irresistible swagger, making it an ideal choice when you want your singers engaged and your audience smiling.

Pure joy and playful confidence. The arrangement captures Queen's characteristic swagger and melodic directness while inviting singers to embrace the song's tongue-in-cheek humor. There's an infectious quality here that energizes rehearsals and leaves audiences buzzing.

Choirs seeking contemporary material that appeals to singers and audiences alike will find this arrangement essential. It works equally well for high school ensembles, community choirs, and church music programs wanting to step beyond traditional repertoire.

• Lock the rhythmic pulse tight from the beginning. This arrangement thrives on precise articulation across all sections; even slight dragging weakens the song's propulsive energy.
• Emphasize the conversational quality of the lyrics. The back-and-forth between voices should feel like natural dialogue rather than formal choral exposition.
• Shape the longer phrases with intentional breath placement. Mark breathing points during rehearsal to prevent gasping mid-phrase and to maintain the momentum.
• Balance the SAA voicing carefully in sections where they carry the primary melody. These voices need to project the top line without forcing; support them with equally engaged lower voices.

Program this as a high-energy moment in a concert featuring mixed repertoire. It pairs particularly well with other contemporary arrangements and provides an ideal closing piece when you want to send the audience out on an uplifted note. For spring concerts or pops programs, this settles naturally alongside other rock and pop standards.

• Rhythmic precision in pop and rock idioms
• Melodic independence within homophonic textures
• Stylistic authenticity in contemporary arrangements
• Breath management and phrasing in conversational musical passages