I Want to Be Happy: 2-Part Choral Octavo

This arrangement captures everything that made No, No, Nanette a Broadway phenomenon without requiring a pit orchestra or elaborate staging. Sally K. Albrecht has shaped the counterline to enhance rather than compete with the primary melody, creating a piece that builds ensemble confidence while keeping the performance fun and visually engaging with choreography cues built into the score.

Bright, optimistic, and infectious. The opening unison melody establishes immediate warmth and charm, while the counterline brings a playful effervescence that makes singers smile while they perform. The verse offers a moment of genuine lyrical expression before the energy returns, giving the piece dynamic shape and emotional range.

This octavo works for middle school and high school choirs seeking material that entertains audiences while remaining musically legitimate. It also suits community groups, church choirs, and show choirs looking for Broadway standards with accessible voicing and built-in audience appeal.

• Shape the opening unison melody with forward motion and clear articulation; the bubbly character depends on crisp consonants and a steady, bright tempo.
• Balance the counterline carefully once it enters. It should complement and lighten the main line, not overshadow it. Mark dynamic contrasts in rehearsal to establish this relationship early.
• Use the verse section's optional solo passages as a chance to build confidence in your singers who need featured moments. Even a short solo passage can transform a student's investment in the piece.
• Integrate the choreography suggestions gradually. Start with blocking the main melody section, then layer in movement for the counterline once the singing is secure.

Program this as an opener or closer on a concert mixing classical and contemporary repertoire; its theatrical confidence lifts the mood and energizes audiences. It pairs well with other early 20th-century musical theater standards or can anchor a "Songs of Broadway" themed concert alongside other Youmans pieces or contemporary pop arrangements.

• Singing in parallel motion with a countermelody while maintaining harmonic balance
• Sustaining rhythmic integrity and ensemble precision in an up-tempo style
• Shaping a unison melody with unified articulation and phrasing
• Interpreting contrast between verse (slower, potentially solo) and refrain (full ensemble) sections
• Integrating choreography and movement into performance without disrupting vocal focus