One (from A Chorus Line): Choral Instrumental Pak
Item: 35-PK00092615
$20.00
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| Product | Price | Quantity |
|---|---|---|
| One (from A Chorus Line) - Guitar: Choral Instrumental Pak | $7.00 | |
| One (from A Chorus Line) - Bass: Choral Instrumental Pak | $7.00 | |
| One (from A Chorus Line) - Drums: Choral Instrumental Pak | $7.00 |
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Description
This is the third work by DiOrio for chorus and marimba. Where "A Dome of Many Coloured Glass" (50498607) explores the virtuosic capabilities of this combination and "Alleluia" (50498734) is a work of extroverted exuberance, this work is concerned instead with the narrative demands of telling a story.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00092615
More about this title
About the Composer: Edward Kleban
Edward Kleban wrote the lyrics for A Chorus Line, the groundbreaking 1975 musical that won the Pulitzer Prize for Drama. His gift for articulate, character-driven storytelling in song set a new standard for musical theatre; his words capture both the vulnerability and determination of performers auditioning for a single role. Kleban's work demonstrated that theatrical songs could achieve literary sophistication without sacrificing emotional immediacy, influencing generations of musical theatre writers who followed.
Why we love this
Anita Kerr's arrangement transforms one of musical theatre's most iconic songs into a vehicle for choral storytelling rather than a simple transcription. The addition of marimba adds textural sophistication while keeping the narrative focus sharp; the arrangement respects what made the original unforgettable while creating something distinctly new for the choral ensemble.
What to expect
Intimate and confessional, yet staged and theatrical. The piece holds the quiet intensity of someone stepping into a spotlight to reveal something true about themselves. There's vulnerability beneath the performance, a moment where the mask slips just enough to see the person behind it.
Who it's for
Choirs looking to program substantial musical theatre arrangements that engage both singers and audiences. This works well for ensembles with capable percussion and singers who can carry a sustained narrative without relying on ensemble volume.
How to get the most out of it
- Shape the melodic line with the same vulnerability the original demands; this is a moment of raw confession, not a showstopper, so resist the urge to oversing.
- Balance the marimba part carefully so it enhances rather than competes with the voice. The percussion should feel like an extension of the emotional landscape, not background texture.
- Work the vowels in the lyric phrases until they feel conversational. The storytelling clarity matters more than perfect blend.
- Use the dynamic markings to build the arc of the narrative. Each phrase has psychological weight; let that guide your shaping choices.
How to use it
Position this as the centerpiece of a concert exploring musical theatre's emotional range, or pair it with other Kleban or Hamlisch material for a cohesive thematic program. It also serves as an effective contrast piece when programmed around larger choral works, giving audiences a chance to hear clarity and restraint before returning to bigger sonorities.
Skills your students will build
- Narrative pacing and dramatic intention in ensemble singing
- Balancing vocal line with instrumental accompaniment
- Sustained legit singing at moderate dynamics
- Lyrical clarity and diction for storytelling
- Responding to and interpreting character-driven text