Magic to Do: SAB Choral Octavo

Alan Billingsley's arrangement captures everything that makes this song irresistible while crafting it specifically for SAB ensembles. The writing is contemporary without feeling forced, offering genuine excitement for singers at an achievable level. Your singers already know this piece from Pippin, which means you're starting with intrinsic energy and engagement.

Optimistic and propulsive, with the kind of melodic hook that embeds itself in memory. The arrangement carries an infectious energy that feels modern and playful, inviting singers to inhabit both the joy and the theatrical flair of the original.

Treble and mixed choirs at the high school and community level who want a contemporary Broadway arrangement that doesn't require extensive musical theater experience. The SAB voicing makes it accessible to ensembles with developing singers, while the Schwartz pedigree and proven melody keep everyone engaged. This works beautifully for groups adding Broadway repertoire to their programming.

• Lean into the rhythmic vitality of the accompaniment. The contemporary groove depends on precise ensemble rhythm, particularly in the sections where voices overlap or syncopate.
• Shape the melody with intention even in unison passages. Schwartz's hooks are designed to soar, so guide your singers toward legit tone production rather than conversational delivery.
• Balance the three parts thoughtfully during tutti moments. In SAB writing, the middle voice often gets buried, so work specific attention on the alto line to maintain textural clarity.
• Use the recorded accompaniment strategically during rehearsal to lock in harmonic function, then gradually reduce reliance on it so singers internalize their own voice parts.

Program this as a concert closer or a show-stopping moment in a mixed repertoire concert where it will land with immediate recognition and delight. It pairs naturally with other contemporary choral arrangements or with lighter, more accessible classical fare. Consider it a crowd-pleaser that builds audience energy without requiring a full theatrical production.

• Rhythmic independence within three-part harmony
• Contemporary choral tone and articulation
• Tracking harmonic movement in a pop music idiom
• Ensemble cohesion in syncopated passages
• Musicality and character interpretation in Broadway-style repertoire