Every Little Thing She Does Is Magic (arr. Roel Griffioen): SMATB Choral Octavo

Roel Griffioen's arrangement captures the infectious charm of this 1981 hit while making it entirely accessible for mixed choirs without instruments. The song's deceptive simplicity in its original form becomes a sophisticated study in texture and balance when arranged for four voices, demanding careful attention to blend and rhythmic precision. Your singers will recognize it immediately, which means they'll invest in nailing the musicianship rather than puzzling over unfamiliar material.

Effortless and joyful, with that breezy 1980s optimism intact. The arrangement invites singers to find their groove and sit comfortably in a pop idiom while maintaining the harmonic sophistication the original possessed. It's the kind of piece that feels like it shouldn't work a cappella, until your choir proves it absolutely does.

Mixed choirs seeking contemporary repertoire that feels current without requiring instrumental accompaniment. Directors building programs that blend rock and pop standards with musicianship development will find this both accessible and engaging for student performers.

• Anchor the groove by treating this as a rhythm section exercise for your singers. The percussion-derived articulation of the text is what sells the arrangement; lock syllabic diction across all parts.
• Let the upper voices shape the melody with a naturally conversational tone. This song lives in its lightness, so resist the urge to oversing.
• Balance the SMATB voicing carefully in the vertical sonorities so that no single line dominates. Griffioen's arrangement likely builds texture through layering rather than solo lines.
• Mark breath points explicitly in rehearsal. Pop charts often leave breathing to instinct, but in an a cappella setting, coordinated breath placement prevents rhythmic slippage.

Use this as a welcome opener on a concert where you want to establish a relaxed, contemporary vibe. It also serves as a strong encore choice, or as the anchor of a pop or rock themed concert set paired with other arranged hits. The 10 pages suggest substantive arrangement depth, making it weighty enough to program alongside traditional choral fare.

• Rhythmic accuracy in syncopated pop contexts
• Maintaining groove and subdivision without instrumental pulse
• Blend and balance in four part mixed voicing
• Text articulation and diction for conversational delivery
• Reading and performing contemporary arranged music