Lips Are Movin (arr. Mark Brymer): SSA Choral Octavo

Mark Brymer has crafted an SSA arrangement that preserves the song's infectious hook while creating genuine three-part writing instead of simply reducing the original. The voicing sits comfortably for mixed high school or women's choirs, and the rhythmic precision required keeps singers engaged without becoming overly technical. Best of all, this is a piece your students will be excited about from day one.

Playful confidence mixed with modern pop swagger. The arrangement captures the original's attitude while the three-part writing adds depth and lets singers feel like they're creating something more intricate than the radio version. There's energy here, but also craft.

High school SSA choirs, college women's ensembles, and competitive show choirs looking for a contemporary pop selection with real harmonic interest. This works equally well for groups building confidence in contemporary music or those already comfortable with modern repertoire but seeking material with genuine style.

• Lock in the rhythmic drive from the opening. This tune thrives on groove, so establish the pocket early in rehearsals and keep that energy consistent through performance.
• Balance the call-and-response section carefully. When one part carries the main melody, the other two voices need to sit back and support rather than compete for listener attention.
• Let the sass come through naturally. The attitude in "Lips Are Movin" shouldn't feel forced, but it does require confidence and clarity in your diction, especially on the punchier syllables.
• Use the recorded accompaniment to anchor your tempos and feel. The backing track's groove is integral to how the arrangement lands.

Pair this with other contemporary pop selections for a cohesive set, or use it as a standalone closer on a concert mixing classical and modern work. The 14-page score length makes it a substantial enough piece to anchor a mini-program without overwhelming rehearsal time. This is also ideal for virtual performance or concert videos, where the contemporary sound and visual polish of the arrangement translates particularly well.

• Rhythmic precision and syncopation in a pop idiom
• Part independence and blend in close three-part voicing
• Microphone technique and pop-style vocal production
• Diction clarity on rapid, articulate passages
• Call-and-response phrasing and balance