Still The One (arr. Deke Sharon Scott Harris): SSAA Choral Octavo

Deke Sharon and Scott Harris have transformed this beloved pop standard into an arrangement that works beautifully for women's voices without sacrificing the song's warmth or its essential character. The SSAA voicing gives you multiple options depending on your choir's size and ability, and the barbershop harmonic influence adds textural sophistication that engages singers while remaining accessible. Most arrangements of this song feel like afterthoughts; this one respects both the original and the medium.

Warm and genuinely heartfelt. The arrangement honors the song's romantic sincerity while the barbershop harmony adds a layer of sophistication that keeps things from feeling saccharine. There's both intimacy and celebration built into the voicing, making it feel personal rather than performed.

Women's choirs looking for a pop standard with enough harmonic interest to challenge singers while remaining genuinely enjoyable for audiences. Works equally well for high school ensembles seeking an uplifting concert piece and college groups wanting to explore contemporary barbershop arranging.

• Nail the unison passages first. They're the foundation for when the harmony enters, and sloppy unison will undermine even solid part singing later.
• Let the arrangers' harmonic choices breathe. The barbershop elements create moments of beautiful dissonance that require steady vowels and precise intonation to land properly.
• Shape the phrase endings with intention rather than letting them drop. This song thrives on legit resonance, not dynamics alone.
• Balance the soloistic moments (if any) against the ensemble sound so they support the story rather than interrupt it.

Pair this with other contemporary pop arrangements to show your audience the range of what women's voices can do, or program it as a standalone moment of genuine sentiment in a concert that might otherwise skew comedic or purely virtuosic. It works particularly well as a warmth-building piece that reminds an audience why they came to hear singing in the first place.

• Barbershop harmony tuning and voice leading in close progressions
• Balancing soloistic awareness with ensemble blend across four voice parts
• Sustaining legit tone while navigating contemporary pop arranging vocabulary
• Managing the transition between unison and multi-part writing within a single piece