One Song: TTBB & Opt. Solo Choral Octavo
Words by Alan and Marilyn Bergman, music by Marvin Hamlisch / arr. Mark Hayes
Item: 00-PO-0003727
Minimum order quantity: 20 copies
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Description
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More about this title
About the Composer: Marvin Hamlisch
Marvin Hamlisch (1944-2012) was a composer and conductor whose work spanned Broadway musicals, film scores, and popular music. His versatility earned him three Academy Awards, three Grammy Awards, and a Tony Award, making him one of few composers to achieve this level of recognition across multiple fields. In music education contexts, Hamlisch is known for creating accessible yet sophisticated melodies that resonate with singers of all levels.
Why we love this
Mark Hayes's TTBB arrangement captures the emotional core of this R&B classic while making it genuinely singable for men's choirs. The optional solo entrance creates a natural spotlight moment without requiring a virtuosic vocalist, and the solid harmonic foundation throughout gives every voice meaningful material. This is the kind of secular contemporary arrangement that helps choirs connect with modern audiences while maintaining musical substance.
What to expect
A soulful, introspective ballad with uplifting momentum. The piece opens with intimate vulnerability through the solo voice, then gradually widens into a choral sound that feels communal and affirming. By the finish, the arrangement builds to something genuinely stirring that leaves singers and listeners moved.
Who it's for
Men's choirs seeking contemporary secular music with genuine emotional weight. This arrangement works for intermediate to advanced TTBB groups and suits both community and school ensembles looking to program something modern that audiences recognize.
How to get the most out of it
- Balance the opening solo generously against the initial choral entrance. The solo should feel like a conversation starter, not a whisper.
- Shape the phrase arcs in the choral sections with warmth and legit tone rather than pure pop style. The writing rewards vocal resonance.
- Mark dynamic contrasts clearly in rehearsal so transitions between solo and ensemble sections feel intentional and supported.
- Layer in the recorded accompaniment during final rehearsals to lock the rhythmic pocket, particularly around the cadential moments.
How to use it
This arrangement fits naturally on spring or end-of-year choral concerts alongside other contemporary or secular repertoire. Its theme of peace and brotherhood makes it particularly effective in programs exploring connection or social awareness. The 12-page length and optional solo also make it manageable for directors programming multiple pieces in a concert slot.
Skills your students will build
- Phrasing contemporary R&B material with vocal legit technique
- Balancing solo voice against choral accompaniment
- Reading harmonic textures in four-part men's writing
- Sustaining emotional energy through uplifting climax passages
- Responding to recorded accompaniments with ensemble precision