I Still Haven't Found What I'm Looking For (arr. Richard Salt): SSAATTBB Choral Octavo

Richard Salt's eight-part arrangement opens this iconic U2 track to full choir without losing the restless energy that makes the song compelling. The octavo voicing distributes the melody intelligently across parts, allowing every section to carry meaningful material rather than padding harmony underneath. A rock standard that feels current in any concert, and one your singers will actually want to perform.

Contemplative and searching, with an undercurrent of determination. The arrangement captures the song's meditative quality while maintaining the propulsive rhythm that makes U2's version so memorable. There's permission here to feel both restless and hopeful at once.

Choirs looking for contemporary secular material that bridges the gap between classical training and modern song; directors who want to engage singers with repertoire they've actually heard on the radio. This works equally well for youth choirs, community ensembles, and high school groups seeking an accessible alternative to the typical pops arrangements.

• Treat the rhythmic drive as essential to the arrangement's character. The pulse matters more than strict metronomic precision; lock in as an ensemble rather than fighting against the groove.
• Balance the soprano and alto lines carefully during unison passages to preserve blend while maintaining clarity of text. U2's signature sound depends on lyrical intelligibility.
• Explore the dynamic shape across all eight parts. With this much divisi texture, you'll find natural swells and recessions if you follow the harmonic intensity rather than singing everything at a single volume level.
• Check intonation in the lower male voices during sustained harmony, particularly where parts move slowly. These moments expose tuning issues that are easy to overlook in more active passages.

Pair this with other contemporary or rock-influenced choral work to create a concert segment that feels cohesive and current. It functions well as a concert closer or as a bridge between classical and more casual programming. The eight-page score is manageable enough to learn quickly while remaining substantial enough to reward serious rehearsal.

• Sustaining rhythmic precision across eight independent parts
• Reading and singing divisi textures with clear voice independence
• Balancing text clarity in a rock arrangement without shouting
• Maintaining ensemble blend across a wide range of vocal registers