Regards to Broadway!: 2-Part Choral Octavo

This arrangement captures the playful irreverence of vaudeville while staying completely manageable for young singers. The new partner melody from Besig and Price gives the piece a contemporary freshness that younger choirs actually enjoy learning and performing, rather than treating as a historical artifact. It's the kind of number that energizes a concert and reminds audiences why choral music can simply be fun.

Bright, cheeky, and full of theatrical personality. You can almost hear the tap shoes and vaudeville banter beneath the melody. This is music that invites smiles from performers and audiences alike, with the kind of rhythmic lift that makes singers feel like they're part of something entertaining rather than purely educational.

Middle school and high school choirs looking for repertoire that genuinely engages singers without sacrificing musicality. The 2-part voicing and manageable range make it accessible to developing ensembles while the performance potential appeals to experienced directors seeking crowd-pleasing material.

• Lean into the rhythmic character of vaudeville. This style thrives on crisp diction and a slightly bouncy articulation; resist the urge to smooth out the phrasing.
• If you're using recorded accompaniment, rehearse with it early and often so singers internalize the rhythmic pocket rather than fighting against it.
• Stage movement and props (hats, canes) transform this from a pleasant song into a full performance moment. Even simple choreography on the chorus pays dividends.
• Balance the two melodic lines so neither overpowers the other. Both parts carry the story and deserve clear projection.

Position this as a moment of levity within a concert, perhaps following something more serious or introspective. It works equally well as a finale or as the opening energy-setter that establishes your choir's range. The vaudeville style also pairs nicely with other early 20th-century American material if you're building a themed program.

• Vaudeville-style rhythmic articulation and phrasing
• Balancing two independent melodic lines in part-singing
• Coordination of singing with staged movement and choreography
• Ensemble cohesion in uptempo material requiring precise diction