Into the Unknown (from Frozen 2) (arr. Deke Sharon David Wright): TTBB Choral Octavo

This arrangement captures the song's theatrical emotional arc without overwhelming your singers. Deke Sharon and David Wright understood the barbershop voicing tradition while keeping the writing accessible, which means your TTBB ensemble can tackle it successfully without requiring a year of preparation. The flexibility built into the voicing options (TB/TTB/TBB/TTBB) lets you customize it to your actual section sizes rather than forcing compromises.

Intimate and introspective despite the song's dramatic subject matter. The barbershop treatment adds warmth and resonance, transforming what could feel overly cinematic into something more human and immediate. There's forward momentum built into the harmonic movement, pulling listeners along even in quieter passages.

TTBB choirs looking for contemporary material that doesn't demand a rock band or heavily amplified sound. High school and college male choirs will connect with both the song's cultural moment and the craftsmanship of the arrangement. This works equally well for community choirs seeking repertoire with emotional depth and accessibility.

• Pay attention to the lyrical phrasing in verses; treat it as contemporary ballad singing rather than choral concert style. The arrangement works hardest when each voice maintains individual character within the blend.
• Explore the barbershop harmonic color that this arrangement brings. The close voicing creates ringing qualities if your singers lock onto pitch and vowel consistency; this is the payoff for the style.
• Use the flexibility in voicing to your advantage during rehearsal. If your baritone section is strong, lean into TBB voicing for certain sections; if tenors are carrying the weight, shift to TTB. This keeps engagement high and prevents fatigue in any single section.

Place this in a program where contemporary film music sits alongside other secular repertoire rather than grouping it exclusively with other Disney selections. Its emotional weight makes it work well as a closing number or as a moment of contrast in a concert mixing styles. Many directors program it during winter concert season when audiences expect a mix of familiar and fresh material.

• Sustaining lyrical phrasing across longer phrases without breaking for breath
• Navigating close barbershop voicing and maintaining individual line independence
• Blending vowels within four-part arrangements to maximize harmonic resonance
• Shifting between different voicing options (TB/TTB/TBB/TTBB) during rehearsal
• Building dynamic shape across a verse-chorus structure with minimal textural change