Don't You Worry 'Bout A Thing (arr. Roger Emerson): SAB Choral Octavo

Roger Emerson's arrangement captures the infectious optimism of Wonder's original while making it genuinely accessible for three-part mixed ensembles. The voice leading remains musical without sacrificing the piece's essential groove and character, and the 14-page format provides enough space for meaningful accompaniment that supports rather than overwhelms developing singers.

Warm, buoyant, and inherently joyful. The arrangement radiates the kind of infectious positivity that makes singers smile while they're singing and audiences lean forward in their seats. Beneath the uplifting surface runs a sophisticated harmonic language rooted in soul and funk that gives the piece real musical substance.

Directors seeking contemporary repertoire that energizes mixed choirs without oversimplifying the music. This works equally well for concert programming, community engagement, or end-of-year celebrations where you want genuine artistry alongside accessibility.

• Lock the rhythmic feel early in rehearsals by having students clap the backbeat subdivision before adding melody. This grounds the ensemble in the groove rather than allowing the piece to drag or rush.
• Shape the phrase contours by thinking in two-bar units rather than four-bar phrases; Wonder's phrasing often sits across the bar line, which creates the song's lilting, conversational quality.
• Balance the three parts by assigning stronger readers to the top line initially, then rotating parts once everyone knows the material. This prevents the Alto from getting buried underneath.
• Emphasize the text setting and natural speech rhythms; the lyrics invite an almost conversational delivery that contrasts with overly formal choral diction.

Pair this with other contemporary pop or soul arrangements to build a concert set with modern relevance, or use it as a finale to showcase your choir's versatility and connection to current musical culture. It also works beautifully as a transition piece between classical and more experimental repertoire on the same program.

• Singing syncopated rhythms common to funk and soul idioms
• Maintaining a steady backbeat while singing melody on top
• Balancing three-part harmony with clear voice leading and blend
• Interpreting contemporary text with natural phrasing rather than traditional choral style
• Understanding swing and groove-based accompaniment as it relates to ensemble singing