Never Really Over (arr. Audrey Snyder): SATB Choral Octavo

Audrey Snyder's arrangement preserves the infectious energy of Perry's original while creating genuine four-part writing that sits comfortably in student voices. The piece delivers immediate appeal without sacrificing musical substance; singers engage with current pop culture while developing real choral skills, and the text about emotional resilience gives performers something meaningful to communicate.

Buoyant and propulsive, the piece carries an optimistic forward momentum that belies its emotional depth. The arrangement balances pop's accessibility with genuine harmonic movement, creating something that feels current and singerly all at once.

High school choirs seeking contemporary material that engages singers while building foundational four-part technique. This arrangement works equally well for concert programs and pop-focused ensembles, and it appeals to students who might not yet see themselves as traditional choral singers.

• Keep the rhythm section locked from the start. The groove is foundational to the arrangement's character, so establish it early in rehearsal and return to it whenever the piece feels unfocused.
• Balance the bass line with soprano; Snyder's orchestration relies on strong bookend voices to frame the harmonic movement, so resist the urge to let middle voices dominate.
• Shape phrases through dynamic contrast rather than tempo variation. The piece thrives on energy, but singers need room to breathe and emphasize text, particularly at moments that pivot emotionally.
• Work the syllabic text articulation carefully. Contemporary pop arrangements depend on precise diction to land phrasing and rhythmic punch.

Pair this with other contemporary pop arrangements to program a full set that demonstrates choral versatility, or place it strategically in a concert to energize an audience after more classical repertoire. The piece also works beautifully in spring pops concerts or as a showcase for newer singers still building confidence in the ensemble.

• Maintaining rhythmic precision in contemporary idioms
• Balancing homophonic and imitative textures in four-part writing
• Shaping phrases with dynamic control rather than tempo manipulation
• Articulating syllabic text in pop-influenced music
• Singing accessible harmony that supports the melodic line