For Good (from Wicked) (arr. Kirby Shaw): SSAA Choral Octavo

Shaw's arrangement captures the emotional generosity of this Schwartz classic while keeping the writing accessible and rewarding for mid-level SSAA choirs. The voicing maintains the song's intimacy without demanding virtuosic soloists, and the harmonic sophistication gives singers something genuine to sink their teeth into. This is exactly the kind of Broadway standard that builds both musicianship and program appeal.

Intimate and reflective, with moments of quiet power that emerge from Shaw's careful harmonic choices. The writing honors the vulnerability of Schwartz's original while giving each voice part something to love musically.

This arrangement works well for intermediate to advanced SSAA choirs seeking repertoire with real musical substance and strong audience connection. It's ideal for singers who have solid intonation and can balance ensemble harmony with individual line integrity.

• Emphasize the lyrical quality in the opening phrases; these lines set the emotional foundation for everything that follows, so lean into the warmth of the text rather than driving for volume.
• Balance the inner voices carefully in the harmonic passages. Shaw's arrangement asks a lot of second soprano and alto lines, so isolate those sections in rehearsal to ensure they're heard without overpowering the melody.
• Shape the arch of the song across its entire length rather than peaking early. The climax builds gradually, and patience in the first half pays dividends in the final section.
• Pay attention to vowel consistency across the four parts, especially in the moments where voices move in similar motion. Unified vowel shape will tighten the ensemble sound noticeably.

Slot this into a spring concert that mixes Broadway with more classical repertoire; it bridges commercial appeal and artistic credibility without compromising either. Works beautifully as a closer that leaves audiences with both warmth and something worth remembering.

• Reading SSAA voicing and balancing four-part harmony
• Sustaining legit vocal tone across extended phrase lines
• Shaping lyrics and text expression in contemporary music
• Listening to inner harmony parts while maintaining awareness of the melodic line