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

Mark Brymer's arrangement captures the charm and rhythmic swagger of the original while giving SATB singers genuine musical material to sink their teeth into. The piece balances accessibility with vocal engagement, making it equally appealing to choirs seeking contemporary repertoire and directors who want their singers developing blend and rhythmic precision alongside modern sensibilities.

Confident and playful, with the swagger of early 1960s girl groups filtered through 2010s pop sensibility. The arrangement has energy without aggression, and that tonal character makes it fun to rehearse while still demanding focused musicianship from every section.

Choirs looking to program contemporary pop music that doesn't sacrifice vocal writing quality. This works for intermediate-advanced high school groups and collegiate choirs comfortable with modern idiom and comfortable mixing pop into classical-leaning programs.

• Establish the groove in rehearsal before worrying about precision. Let singers feel the pocket of the rhythm section parts; once the pulse is secure, the tuning locks into place naturally.
• Balance the sass in the melody without oversinging. This arrangement works best when singers deliver attitude through articulation and phrasing rather than volume.
• Pay attention to the arranger's dynamic markings, particularly any contrasts between verses and sections. These shifts define the architecture Brymer built into the piece.
• Record a full run-through at tempo early and listen as an ensemble. Pop arrangements often reveal phrasing and rhythmic issues through playback that rehearsal alone misses.

Include this in a concert that explores how pop songwriting borrows from vocal tradition, or slot it as an audience-favorite second-half piece that energizes a formal concert program. It also works as a rehearsal tool for singers who need engagement with contemporary music to stay invested in their ensemble.

• Rhythmic precision in pop idioms with syncopated vocal lines
• Blend and balance when supporting a melodic lead across SATB voicing
• Stylistic awareness of how contemporary music interacts with traditional vocal technique
• Confidence delivering pop material with full vocal production rather than conversational tone