I Get Around (arr. Thomas Lydon): SATB Choral Octavo

Thomas Lydon's arrangement captures the song's irresistible melodic hooks while giving each voice part something genuinely interesting to sing. This is the kind of pop arrangement that makes singers feel like they're performing something contemporary and fun, not just filling out a concert with standard classical fare.

Bright, propulsive, and nostalgic without feeling dated. The arrangement channels the song's carefree energy while giving singers the satisfaction of intricate four-part writing. There's an infectious quality here that makes audiences smile and singers feel like they're part of something spirited and contemporary.

This arrangement suits choirs of intermediate to advanced standing who want to program recognizable, engaging pop music with real harmonic substance. It works equally well for concert choirs looking to broaden their repertoire and for pop or show choirs seeking material that respects both the original and vocal craft.

• Balance the soprano line carefully in the chorus; it carries the hook and should sit just above the other voices without disappearing or overwhelming them.
• Establish a clear, bouncy rhythmic pocket early in rehearsals. The arrangement thrives on a light, propulsive feel rather than a heavy or legit sound.
• Layer in dynamics gradually during run-throughs. The arrangement likely builds energy across phrases, so resist the temptation to sing full volume from measure one.
• Keep vowel shapes unified across the section parts, especially during block chords. Blend matters as much here as it would in a classical setting.

Slot this into a pop or rock-themed concert set, or use it as a palate cleanser between heavier classical or contemporary works. It works particularly well in spring or end-of-year programs when programming choices tend toward lighter, more celebratory material. Consider pairing it with other classic pop standards arranged for SATB.

• Singing pop/rock idioms with jazz-influenced harmonic language
• Balancing independence and blend in close four-part writing
• Maintaining rhythmic precision in syncopated, groove-based material
• Performing with stylistic awareness of a specific era and vocal sound