Magic to Do (from Pippin): SAB Choral Octavo

Alan Billingsley's arrangement captures everything that makes this song irresistible while giving it contemporary energy that speaks directly to today's singers. The SAB voicing is practical without losing the sparkle of Schwartz's original, and the arrangement feels fresh rather than nostalgic. This is a piece your singers will want to sing and your audience will recognize immediately.

The song radiates optimism and possibility. There's a buoyant, almost playful quality to the melody that invites singers into a moment of genuine joy and wonder. The harmonies feel modern and approachable, never precious or overly complex, allowing performers to stay connected to the emotional truth of the text rather than wrestling with technical demands.

This arrangement works for middle school, high school, and community choirs with developing musicianship. SAB voicing makes it accessible to ensembles with a strong treble section and solid bass singers, though limited tenor depth is manageable here. Singers drawn to contemporary musical theater will connect immediately with the material.

• Lean into the rhythmic vitality of the accompaniment. The groove drives the piece forward, so lock the ensemble into a consistent pulse even during the more lyrical moments.
• Balance the melody so it sits clearly above the harmony parts without requiring the sopranos to oversing. Schwartz's tune is strong enough to carry with ease.
• Use the recorded accompaniment to anchor rehearsals early, but move toward singing without it as the ensemble gains confidence. The choir's cohesion matters more than perfection with the track.
• Explore dynamic contrast between sections. The shifts from verse to refrain create natural opportunities for energy changes that will shape the listener's experience.

This is an excellent anchor for a Broadway or musical theater themed concert, and it pairs naturally with other contemporary pop-choral arrangements. Consider programming it midway through the second half of a concert where audience energy might dip; the immediate recognition and infectious melody will lift the room. It also makes a strong closer for a lighter program or an ending number for a spring concert.

• Singing in SAB voicing with clear part independence
• Sustaining ensemble cohesion over a driving rhythmic accompaniment
• Shaping phrasing and dynamics across longer melodic lines
• Connecting lyrical content to musical expression in a theatrical context