Sing (arr. Wayne Grimmer): SATB Choral Octavo

Wayne Grimmer's arrangement captures the signature Pentatonix sound while making it genuinely singable for SATB choirs. The barbershop treatment brings out harmonic sophistication without sacrificing the rhythmic energy that makes the original compelling, and singers get to experience how contemporary vocal arranging can honor both classical voice part independence and modern production sensibilities.

The piece pulses with contemporary energy while maintaining warm, blended harmonic textures that feel grounded in vocal tradition. You'll hear both the sparkling clarity of a cappella layering and the richness of SATB voicing working in tandem.

This arrangement works for choirs with solid fundamentals in four-part writing and rhythmic precision. It's ideal for groups comfortable with contemporary material and vocal percussion elements, as well as for directors wanting to program modern music that still maintains choral sophistication.

• Balance the bass line carefully, especially where it carries melodic weight. Your basses need to lock in rhythmically while maintaining a singing tone that doesn't overshadow the sopranos.
• Work the tuning in the close harmonies through small group rehearsals. Pull sections aside and have them sing without the melody until the chord quality sits cleanly.
• Lock the rhythmic unison passages first before layering in the harmony. Pentatonix arrangements depend on crisp, synchronized rhythmic attack.

This fits naturally into a concert celebrating contemporary arrangements or a program mixing classical choral traditions with modern pop. It also works as an energetic closer or as part of a set exploring how a cappella arranging informs current choral writing.

• Maintaining tuning in close-voiced harmony
• Rhythmic precision with syncopated vocal lines
• Balancing independent melodic lines while preserving blend
• Responding to contemporary arranging conventions in a classical ensemble setting