One (from A Chorus Line): SATB Choral Octavo

This Anita Kerr arrangement captures the raw emotional core of the song while making it accessible to choirs of varying abilities. The piece balances the theatrical impact that makes Broadway music engaging with the harmonic sophistication that keeps singers and audiences invested, making it equally effective in a concert setting or as part of a musical theater unit.

The piece unfolds with quiet introspection before building toward a moment of collective affirmation. Hamlisch's harmonic language feels contemporary yet timeless, creating intimate harmony that opens unexpectedly into moments of full-voiced power and clarity.

This octavo works for intermediate to advanced SATB choirs looking to include Broadway repertoire with substance. It suits groups preparing concert programs that bridge musical theater and classical traditions, or choirs exploring the intersection of contemporary songwriting and choral craft.

• Center the performance around the lyrical storytelling. This song works when singers understand they're revealing something personal, not just executing vocal lines.
• Shape the harmonic moments in the final section with subtle dynamic shifts. Let the four-part writing breathe and create its own weight without forcing the climax.
• Maintain rhythmic precision in the syncopated passages while keeping the overall phrasing conversational. The music should feel inevitable, not metronomic.

Pair this with other songs about identity or belonging for a thematic concert, or use it as an accessible entry point into Broadway music for choirs less familiar with musical theater repertoire. It also works well as a finale that leaves audiences with something to think about.

• Sustaining legit Broadway vocal production across range and dynamics
• Balancing solo moments and ensemble tutti sections
• Interpreting syncopated rhythms with conversational phrasing
• Building harmonic blend in contemporary four-part writing
• Connecting lyrical content to musical expression