Diamonds Are A Girl's Best Friend (arr. Mark Hayes): Choral Instrumental Pak
As performed by Marilyn Monroe / Arranged by Mark Hayes
Item: 35-PK00149732
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Description
Memorialized by Marilyn Monroe in "Gentle Prefer Blondes" and more recently performed by Nicole Kidman in "Moulin Rouge!" this Broadway standard has now been superbly arranged by Mark Hayes. With lots of play between the women's voices, your choir will wow with this number. Mark has crafted a knockout voicing for your ladies and written hot ensemble parts to allow you to involve your school orchestra. Duration: ca. 3:26.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00149732
More about this title
About the Artist: Marilyn Monroe
Marilyn Monroe became one of Hollywood's most iconic performers, defining glamour and comedic timing in mid-twentieth century American cinema. Her 1953 rendition of "Diamonds Are a Girl's Best Friend" in Gentlemen Prefer Blondes remains the definitive popular recording of this Jule Styne composition, establishing it as a cultural touchstone for generations of performers.
Monroe's vocal performance of this number has influenced countless choral and theatrical arrangements. Her ability to balance swagger with vulnerability in delivering the song made it a centerpiece for studying how popular standards can anchor both dramatic storytelling and ensemble singing.
Why we love this
Mark Hayes has engineered genuine interplay between the women's voices here, moving beyond a simple unison treatment into something that actually showcases individual singers while maintaining the song's irresistible swagger. Adding orchestral depth through accessible ensemble writing means your orchestra students get meaningful material without overwhelming a pop arrangement, and that combination of vocalists and instrumentalists trading energy makes for genuinely exciting concert moments.
What to expect
Confidence wrapped in sophistication. The voicing carries real personality and Broadway flair while Hayes's orchestration gives the whole piece a sense of production value and shimmer. This is a number that rewards performers who commit fully to its swagger and elegance.
Who it's for
Directors seeking a polished pop standard that engages both singers and instrumentalists without requiring a massive ensemble. This arrangement works equally well for high school choirs with string or full orchestra support and for community or college groups looking to program something with immediate audience appeal.
How to get the most out of it
- Build the comedic timing through deliberate pauses rather than rushing the lyrics; Monroe's delivery benefits from strategic breath and space that lets the audience settle into the attitude.
- Balance clarity of the text with the elegance of Hayes's voicing; women's sections need to pop distinctly even while moving through sophisticated chord changes.
- Establish tight ensemble coordination between choir and orchestra during the sectional trading moments; mark these transitions in rehearsal so both groups anticipate the handoffs.
How to use it
Position this as a centerpiece number on a pops or cabaret concert where it can anchor a set of musical theatre standards. The manageable runtime and accessible musical language make it suitable for early-season programming while still reading as polished enough for closing concerts or competition settings.
Skills your students will build
- Balancing choral blend while maintaining individual voice independence
- Coordinating ensemble rhythms between singers and instrumentalists
- Interpreting popular music idioms with stylistic authenticity
- Managing comedic timing and subtext within arranged material