I'm So Excited (arr. Hans Reintjes): SAB Choral Octavo

Hans Reintjes captures the signature drive and sass of this 1984 hit in a three-part setting that doesn't sacrifice the original's energy or infectious groove. The arrangement sits perfectly for mixed SAB choirs and gives singers a contemporary piece with genuine pop credibility rather than watered-down novelty.

Electric and propulsive. The arrangement captures the original's irresistible momentum and the playful confidence that made the song a radio staple. Singers feel the groove as much as they sing it.

Choirs looking to program contemporary pop repertoire with style and substance will find this arrangement immediately singable yet satisfying. It works for high school and college ensembles seeking material that excites both singers and audiences without requiring extensive rehearsal time.

• Lock the rhythm section to the straight eighth-note subdivision throughout; the pocket of this piece depends on consistent, unwavering timing that sits just ahead of the beat.
• Keep the alto and soprano lines crisp and rhythmically aligned, especially during the interlocking sections where they weave together. Sloppy entrances here collapse the arrangement's clarity.
• Shape the dynamics to mirror the original recording; let the piece build from the verse into the chorus without overdoing the volume at any point. Control and articulation matter more than decibels.
• Bring out the baritone/bass line with confidence during the head arrangement sections. It anchors the harmonic movement and deserves attention rather than being buried under the upper voices.

Perfect for the second half of a concert where you want to shift energy and engage the audience with something recognizable and joyful. It pairs well alongside other pop standards or contemporary hits, giving your choir a moment to showcase they can own popular music with the same musicality they bring to traditional repertoire.

• Rhythmic precision in straight eighths and syncopated figures
• Three-part SAB voicing and blend across mixed ensemble
• Singing pop idiom with articulation and style
• Ensemble cohesion during rapid sectional interplay
• Dynamic control and phrasing in contemporary music