Starting Here, Starting Now: Choral Octavo SoundTrax CD

John Leavitt's arrangement honors Shire's Broadway roots while making the piece genuinely singable for choir ensembles of varying sizes and styles. The piano accompaniment functions as a full musical partner rather than a background element, giving the arrangement sophistication without requiring instrumental ensemble support. This is the kind of piece that works equally well in a traditional concert setting or a contemporary pop choral context.

The song carries a warmth and sincerity that feels both timeless and immediate. There's tenderness in the melody and a sense of hope that makes it perfect for marking transitions and new beginnings. The arrangement wraps the tune in sophisticated harmonies that feel supportive and full rather than sparse.

This piece works beautifully for choirs of all sizes and skill levels, from large traditional ensembles to smaller jazz or pop choirs seeking an emotionally mature love song. Directors looking for a graduation or end-of-year selection will find strong material here. The accessible arrangement makes it feasible for intermediate choirs without requiring substantial rehearsal time.

• Balance the emotional weight of the melody with clarity in the supporting vocal lines; the arrangement's classical foundation requires precision in voice part independence.
• Shape the piano part with the same attention you'd give the vocal lines. The accompaniment carries harmonic and emotional information that deepens the text.
• Use the recorded accompaniment to establish a secure harmonic foundation during rehearsal, then challenge the choir to maintain that intonation and blend when moving to live piano accompaniment.
• Build the climax gradually across the arch of the song rather than front-loading dynamics early; let the text and melody drive the emotional curve.

This lands naturally in the closing section of a graduation concert or final spring performance, where its sentiment about beginnings and transitions carries real weight. It also works as a bridge piece in a program that mixes classical and contemporary choral styles, demonstrating how Broadway songwriting and choral art intersect. The relatively concise length makes it a strong closing number that doesn't overstay its welcome.

• Blend and balance across multiple voice parts in a classically structured arrangement
• Phrase control that honors both melodic shape and lyrical meaning
• Listening to and supporting a strong piano accompaniment as an equal musical voice
• Emotional expression and storytelling through a secular love song
• Flexibility between classical and contemporary choral styles