Sing (arr. Audrey Snyder): 3-Part Mixed Choral Octavo

Audrey Snyder's 3-part mixed arrangement opens this contemporary pop standard to choirs without extensive soprano and tenor depth. The arrangement preserves Pentatonix's signature sound while remaining singable for young or developing ensembles, making this an excellent gateway to modern a cappella repertoire that students actually want to perform.

Bright, modern, and propulsive. The arrangement captures Pentatonix's energy while remaining grounded in accessible three-part writing that never feels simplistic. Singers experience the satisfaction of sounding contemporary and polished without needing extensive vocal gymnastics.

Young choirs, middle school and high school groups with limited tenor sections, and ensembles seeking contemporary repertoire that genuinely excites singers. Directors programming concerts that mix traditional and pop styles will find this arrangement bridges both worlds effectively.

• Establish the rhythmic pocket early in rehearsal. Snyder's arrangement relies on rhythmic precision, so locking in the beat before worrying about blend will serve you better than the reverse.
• Treat the beatboxing elements with intention. Whether you layer these subtly or push them forward, commit to your choice during performance so the texture reads clearly.
• Balance the high melody line carefully. With only three parts, the top voice carries significant melodic responsibility; resist letting it get buried beneath inner harmony.
• Use the recorded accompaniment to establish the contemporary feel, but pull it back in dress rehearsal so singers own the groove themselves.

Pair this with other pop or contemporary pieces for a concert segment showcasing how modern arrangers interpret current hits. It also works as a morale booster mid-rehearsal calendar, since the material connects to what students hear on streaming platforms and radio.

• Maintaining rhythmic independence within a rhythmically-driven texture
• Blending in contemporary pop style (tighter, less vibrato-heavy than classical choral sound)
• Reading and executing beatboxing or rhythmic effects notation
• Balancing three-part harmony while supporting an exposed melody line
• Understanding how arranger choices reshape familiar songs for different ensemble configurations