Part Of Me (from Dear Evan Hansen) (arr. Roger Emerson): SATB Choral Octavo

Roger Emerson's arrangement captures the vulnerability at the heart of this song while making it accessible for mixed ensembles. The writing balances genuine emotional depth with practical voicing that doesn't require vocal superstars, yet leaves room for singers who bring their full instrument to it.

This song moves through introspection with the kind of quiet intensity that comes from real confession. The arrangement holds space for stillness while never feeling static, creating moments where the four parts lock together in ways that feel almost intimate.

Choirs looking for contemporary repertoire that connects with student singers because it speaks to themes they actually care about. This works equally well in concert settings, musicals programming, or as part of a setlist that includes musical theater alongside classical work.

• Start with a conversation about what 'part of me' means in the context of the show. That understanding shapes how a singer approaches the vulnerability in the melody and phrasing.
• Lean into the simplicity of the harmonic language. These chords work because they're clean and direct. Overpedaling or adding ornamentation muddies what makes the writing effective.
• Build the dynamic arc gradually. This isn't a piece that needs dramatic swells. Instead, let the emotional content deepen through commitment to line rather than volume.
• Pay attention to how your soprano and alto parts interact in the middle section. Blend them intentionally. They're designed to support the emotional weight, not compete for attention.

Pair it with other contemporary choral music in a concert exploring emotional authenticity in songwriting, or program it as a standalone moment that shifts the tone of a larger show. It's also strong material for a musical theater themed concert or a program focused on songs written in the last decade.

• Navigating contemporary harmonic language with dissonance and resolution
• Singing with musical theater diction and phrasing while maintaining choral blend
• Building emotional narrative through dynamics and line rather than vocal pyrotechnics
• Part independence in a mixed ensemble setting with exposed voicing