Nowhere to Go But Up (from Mary Poppins Returns) (arr. Roger Emerson): SATB Choral Octavo
Arranged by Joseph M. Martin
Item: 35-PK00431639
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Description
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Additional Details
Publisher:
Hal Leonard
Page Count:
5
SKU:
35-PK00431639
More about this title
About the Arranger: Roger Emerson
Roger Emerson has built a career as one of America's most prolific and respected choral arrangers, with hundreds of published works spanning classical, sacred, and contemporary styles. His arrangements consistently find their way into festival programs and concert seasons across the country because they balance musical sophistication with practical classroom needs; his writing prioritizes accessibility without sacrificing artistry.
Why we love this
Emerson captures the infectious optimism of this Stephen Sondheim song while keeping the voicing manageable for mixed choirs at all levels. The arrangement respects the song's theatrical energy without demanding extensive rehearsal time, making it a smart choice when you want a contemporary piece that connects with audiences and singers alike.
What to expect
Warmth and forward motion mark this arrangement from start to finish. The song radiates the kind of carefully crafted optimism that feels earned rather than forced; there's comfort in its melodic shapes and a lift in its harmonic movement that makes singing it genuinely uplifting.
Who it's for
Mixed choirs seeking contemporary material that audiences recognize and enjoy, whether in a holiday concert setting or a broader concert season. This works equally well for high school and adult choirs that want something accessible yet engaging.
How to get the most out of it
- Shape the opening phrases to feel conversational rather than formal; think of the text as characters speaking to one another, not proclaiming
- Balance brightness in the upper voices against a grounded, steady foundation from the basses to maintain the song's buoyant character throughout
- Mark your key moments of unity across all four parts and let those moments breathe slightly; they're your anchors when the voices move independently
- Attend to the film recording for rhythmic feel and groove, especially in any syncopated passages, so your interpretation lands with freshness
How to use it
Pair this with other accessible contemporary pieces in a concert devoted to film and musical theater, or use it as a closing number when you want audiences leaving with something joyful and memorable. The five-page length makes it manageable for a concert that includes longer or more demanding works.
Skills your students will build
- Singing from contemporary musicals with theatrical expression
- Voice leading in four-part harmony with occasional independence between sections
- Text clarity and diction in contemporary song styles
- Dynamic shaping within an upbeat, energetic context