Crying In The Rain (arr. Richard Salt): SATB Choral Octavo

Richard Salt's arrangement captures the emotional directness of this classic without sacrificing the harmonic sophistication that makes the Everly Brothers' work so rewarding to sing. The piece sits perfectly for developing choirs: accessible enough to prepare quickly, substantial enough to challenge your singers' blend and intonation. Audiences connect immediately with material they recognize, and this arrangement builds real four-part voice leading that students will feel in their musicianship.

Tender and introspective, this arrangement wraps the familiar melody in warm harmonies that feel intimate without being overly sentimental. The three-page format moves briskly, building quiet intensity that mirrors the lyric's emotional vulnerability.

Choirs at the intermediate level will find this arrangement both within reach and genuinely satisfying to perform. It works equally well for high school choirs, community ensembles, and collegiate groups seeking pop repertoire that respects their singers' musicianship.

• Balance the inner voices with care; the alto and tenor lines contain counter-melody material that shouldn't disappear beneath the sopranos. A lighter soprano touch in the opening gives these voices room to sing through.
• Lock in the rhythm section early. The steady pulse underneath the melody is what makes this arrangement breathe naturally. Even small inconsistencies in the accompaniment will throw off the emotional weight of the lyric.
• Shape each phrase as a complete thought rather than mechanically observing bar lines. The text carries the line, so encourage singers to follow the natural speech rhythm of 'Crying in the Rain' as their guide to phrasing.
• Commit to the vowel modifications on sustained notes above the staff. These moments expose any tension or strain in the upper voices, so model relaxed, resonant vowel placement throughout rehearsals.

Pair this with other mid-century pop standards to create a concert segment that bridges classical and contemporary taste. The relatively brief length makes it ideal filler in a mixed program, or cluster it with other Everly Brothers arrangements if programming a themed concert around vocal harmony traditions.

• Balancing four-part texture without dominance from any single voice
• Sustaining a gentle, controlled dynamic across an entire phrase
• Maintaining rhythmic precision while serving the lyrical line
• Finding resonance in the upper register without pushing or tension
• Coordinating breath points across a vocal section