I Want It All (arr. Stefan Flügel): TTBB Choral Octavo
I Want It All (arr. Stefan Flügel) Sheet Music Preview

I Want It All (arr. Stefan Flügel): TTBB Choral Octavo

As performed by Queen / Arranged by Stefan Flügel

Item: 35-DS00497258
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Additional Details
Publisher: Hal Leonard
Page Count: 14
SKU: 35-DS00497258

More about this title

About the Artist: Queen

Queen redefined what rock music could accomplish in the studio and on stage. Freddie Mercury's four-octave vocal range and theatrical presence, combined with Brian May's distinctive guitar tone, Roger Taylor's innovative drumming, and John Deacon's rock-solid bass lines, created some of the most recognizable songs in pop history. Their work spans operatic grandeur, hard rock intensity, and infectious pop hooks, making them endlessly adaptable for choral arrangements.

Why we love this

Stefan Flügel's arrangement captures the swagger and energy of Queen's original while making it genuinely singable for men's voices. The flexibility in voicing (TB/TTB/TBB/TTBB) means you can program it regardless of your ensemble size, and the 14-page score gives you room to build arrangement detail without overwhelming your singers. Modern pop works best when it swings with conviction, and this one does exactly that.

What to expect

Confident and infectious. This is rock music that refuses to apologize for its ambition, built on a foundation of tight harmony and propulsive rhythm. Singing it should feel like being part of something bigger than yourself, somewhere between a arena rock moment and a perfectly engineered pop hook.

Who it's for

Men's choirs of all experience levels will find something to work with here. The flexible voicing accommodates groups with solid tenor sections as well as those with limited tenor depth. College groups, community choirs, and even adventurous high school programs will connect with this material.

How to get the most out of it

  • Commit to the swagger. Queen's catalog demands performers who believe in the material. Find the groove in the rhythm section parts and lock into it early in rehearsals.
  • Balance the lead line carefully against the harmonic foundation. The main melody needs air and presence, but not at the expense of the texture underneath.
  • Let the arrangement breathe where Flügel gives you space. Silence and restraint are just as much a part of Queen's sound as the full-voiced moments.

How to use it

Pop arrangements work brilliantly as closer or encore material, especially when you want to leave the audience energized. This one pairs well on a concert alongside more traditional choral work, providing the contrast that keeps listeners engaged throughout a program. If you program Queen, you signal that your ensemble takes contemporary music seriously.

Skills your students will build

  • Rock phrasing and swagger in a choral context
  • Rhythmic precision across multiple vocal lines
  • Balancing lead melody against harmonic parts
  • Sustaining energy across a longer arrangement

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