Get Happy (The Broadway Classic): 3-Part Mixed Choral Octavo

Carl Strommen's arrangement strips away none of the tune's irresistible charm while tailoring it for mixed voices in a school setting. The 3-part voicing sits comfortably across a range of abilities, and the recorded accompaniment transforms rehearsal into something energizing rather than laborious. This is repertoire that builds genuine momentum in concert because the piece itself demands a smile from the moment the first notes arrive.

Bright, optimistic, and genuinely fun to perform. The melody unfolds with such a natural spring in its step that the singers themselves begin to embody that happiness the title promises. There's a timeless quality to this tune, one that makes each new generation of singers feel like they're discovering something freshly written for them.

This octavo serves mixed choirs in middle school through early high school settings and adult community ensembles seeking accessible Broadway repertoire. It works equally well as a standalone concert piece or as part of a larger musical theater program.

• Anchor the melody in the soprano line and keep it singing through even the simplest passages; this tune's power comes from its clarity and forward motion, not from complexity.
• Use the rhythmic precision of the accompaniment track during rehearsal to lock the ensemble into a unified tempo, then gradually shift toward expressive rubato in final run-throughs.
• Balance the lower voices so they support rather than cover the tune; the SAB voicing works best when altos and basses sit back slightly and allow the sopranos to project freely.
• Lighten the sound in the final measures and resist the urge to slow down; the piece should land with the same buoyant energy it started with.

Program this early in a choral concert to set a positive, energetic tone for the evening. It pairs well alongside other accessible standards or contemporary choral pop, and it reads intelligently enough to hold its own in a mixed concert that includes more substantial works. The piece also works beautifully as an encore or as a finale to a Broadway-themed program.

• Singing a memorable melody in two- or three-part harmony
• Balancing individual voice parts within a small ensemble texture
• Rhythmic accuracy with an accompaniment track
• Musical interpretation of straightforward harmonic progressions
• Singing with clear diction in a comedic, uptempo style