I'm Still Standing (arr. Pete Schmutte): SATB Choral Octavo

Pete Schmutte's arrangement captures the defiant spirit of the original while keeping the SATB writing singable and transparent. This is a number that energizes both performer and audience; the buildup works just as effectively in concert hall acoustics as it does in a gymnasium. The arrangement respects the song's rock roots without requiring your singers to shout.

Exuberance paired with quiet defiance. The melody carries an almost defiant swagger even in the softer moments, building toward the kind of release that leaves both singers and listeners energized. There's buoyancy throughout, a sense of resilience that makes the piece feel fresh even after multiple rehearsals.

High school and college choirs looking for contemporary repertoire that genuinely excites singers. This works equally well for concert choirs seeking a crowd-pleasing closer and secular community ensembles wanting material with genuine emotional weight beyond novelty value.

• Find the rhythmic pocket early in rehearsal. The syncopation that feels natural in the pop recording can feel clunky if the ensemble doesn't lock into a shared sense of forward motion.
• Layer the vocal parts during rehearsal to ensure the sopranos and tenors can hear their top line clearly over the harmonic foundation below.
• Shape the dynamics from verse through chorus intentionally. The arrangement builds momentum; resist the urge to sing at full volume too early.
• Consider a solo or small-group moment for the opening verse if your ensemble has a strong vocalist who can set the emotional tone.

Place this late in a concert program where it can serve as an emotional peak rather than opener. It pairs well with other contemporary pop arrangements and creates a bridge between more classical selections and purely entertainment-focused programming. Consider programming it in spring concerts where you want to send audiences out on a high note.

• Syncopated rhythm reading in a pop context
• Balancing rhythmic independence across four parts
• Sustaining vocal energy across a build section
• Interpreting contemporary vocal production within ensemble singing
• Dynamic shaping and release timing in climactic moments