Get Lucky (arr. Stefan Flügel): SSSAAA Choral Octavo

Stefan Flügel's arrangement captures the infectious groove of the original while creating genuine musical substance for six-part voices. The voicing sits beautifully for upper voices, and the arrangement respects what makes the song memorable without reducing it to a jingle. This is contemporary repertoire that students actually want to sing.

Sleek, propulsive, and surprisingly warm. The arrangement maintains the original's disco-inflected groove while letting voices explore harmony that goes deeper than the three-chord simplicity of the hook. There's an undercurrent of funk even when you're standing still.

Choirs seeking contemporary repertoire that bridges the gap between what students hear on streaming and what deserves serious musical attention. This works equally well for show choirs, community ensembles, and concert choirs looking to expand beyond traditional classical or folk arrangements.

• Lock the internal rhythmic subdivisions early. The syncopation defines the song's character, so spend rehearsal time drilling the offset hits between sections until they feel inevitable rather than tricky.
• Shape the melodic line with conversation rather than unison. Pharrell's original phrasing has space and breath built in; transfer that sensibility to your voices even when they're moving together.
• Lean into the production values of the arrangement. This piece gives you harmonic sophistication disguised as pop accessibility, so use dynamics and tone color to highlight the underlying voice leading.

Deploy this as a contemporary palate cleanser in a concert dominated by traditional choral work, or build an entire set around contemporary pop and dance arrangements. The 16-page length keeps it from overwhelming rehearsal schedules while giving you enough musical material to make an impact.

• Maintaining rhythmic precision within syncopated pop idioms
• Blending voices in six-part harmony while preserving individuality of line
• Phrasing popular music with intention rather than mechanical accuracy
• Interpreting recorded versions as source material for arranging choices