One Short Day (from Wicked) Sheet Music Preview

One Short Day (from Wicked): SAB Choral Octavo

As performed by Stephen Schwartz / Arranged by Roger Emerson

Item: 35-DS00264819

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Additional Details
Publisher: Hal Leonard
Page Count: 11
SKU: 35-DS00264819

More about this title

About the Artist: Stephen Schwartz

Stephen Schwartz has shaped musical theatre for half a century, crafting scores that balance sophisticated harmony with infectious melodic appeal. His work across *Godspell*, *Pippin*, *Wicked*, and *Enchanted* demonstrates his gift for writing music that connects emotionally while remaining deeply playable by student ensembles.

Why we love this

Roger Emerson's SAB arrangement captures the infectious optimism of the original without sacrificing the harmonic richness that makes Schwartz's music memorable. The orchestration sits comfortably across three voices while maintaining the buoyant energy that made this song a standout moment in *Wicked*; your singers will feel the theatrical impact even in the choral setting.

What to expect

Effervescent and warm, with the kind of musical optimism that makes you want to explore a new city yourself. The harmonic language is sophisticated enough to keep mature singers engaged while the melodic foundation stays accessible and genuinely singable across all three parts.

Who it's for

Any choir director looking for contemporary theatre repertoire that connects with student singers and audiences alike. This works equally well for concert settings, musical theatre units, or pops programmes where you want quality popular music rather than generic show tunes.

How to get the most out of it

  • Keep the opening phrases light and conversational, treating the text like genuine dialogue rather than declamation. This sets up the song's inherent charm and draws the audience into the characters' discovery of the city.
  • Shape the dynamic arc deliberately across the entire piece so the climactic moments land with earned excitement rather than sounding forced.
  • Balance the upper and middle voices carefully during the parallel harmony sections to preserve clarity while building the full choral sound.
  • Work the rhythm section and soloists separately if the piece includes a solo line or featured voice; this ensures the ensemble locks together without losing individual character.

How to use it

Pair this with other contemporary musical theatre selections to create a cohesive pops concert, or use it as a gateway piece to introduce students to Schwartz's compositional style before tackling larger works like *Godspell* or *Pippin*. The 11-page length makes it substantial enough to anchor a programme slot without demanding an entire rehearsal block.

Skills your students will build

  • Balancing theatrical expression with choral blend
  • Navigating contemporary harmonic language in popular music
  • Maintaining rhythmic precision in syncopated passages
  • Shaping lyrical phrases with text-driven phrasing

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