I Love a Piano: Choral Octavo SoundTrax CD

Besig and Price's addition of a partner melody transforms a beloved standard into a dual-layer arrangement that gives singers real harmonic independence without requiring a divided choir. The ragtime-inflected accompaniment option keeps rehearsals energetic and gives students a chance to hear how a single tune can support multiple textural approaches, making this a natural bridge between nostalgia and active music-making.

Bright, playful, and unmistakably early twentieth-century in its rhythmic swagger. The piece bounces between affection for a bygone era and genuine musical delight, driven by the interplay between the familiar Berlin tune and its clever new companion melody. There's a lightness here that invites singers to enjoy themselves rather than strain for a result.

Choirs seeking seasonal or nostalgia-themed repertoire that allows singers to experience genuine two-part writing without extreme range demands. This works well for mixed ensembles at the intermediate level and community choruses looking for upbeat material with both recorded and live piano accompaniment options.

• Balance the two melodic lines so each phrase comes through clearly; this works best when one section sings slightly ahead of its natural comfort, making the counterpoint audible rather than blended.
• If using the recorded accompaniment, have singers practice their parts without it first so the melody and partner song establish their own internal timing before the rhythm section joins.
• Lean into the ragtime character suggested by the banjo feel; encourage a slightly detached articulation on the faster rhythmic passages to capture that period bounce.
• Consider staging the two melodic lines with physical separation or movement so audiences can follow the counterpoint visually as well as aurally.

This pairs naturally with other Berlin standards or early American popular song arrangements for a concert segment celebrating American songwriting. It also works as an intermission opener or finale to a program heavy on more serious or contemporary work, since it restores audience energy through its infectious good humor and clear melodic appeal.

• Singing a composed countermelody against a well-known tune
• Maintaining rhythmic independence between two related but distinct melodic lines
• Interpreting ragtime stylistic markers (articulation, rhythmic placement, swing feel)
• Navigating partner song construction and entrances