That's What Friends Are For (the Vulture Song) (arr. Craig McLeish) Sheet Music Preview

That's What Friends Are For (the Vulture Song) (arr. Craig McLeish): TTBB Choral Octavo

Arranged by Craig McLeish

Item: 35-DS00457658

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Additional Details
Publisher: Hal Leonard
Page Count: 4
SKU: 35-DS00457658

More about this title

Why we love this

Craig McLeish's arrangement captures the warmth and humor of this beloved song while crafting genuine four-part writing that respects both the melody and the ensemble's capabilities. The TTBB voicing allows male choirs to access a contemporary pop standard without sacrificing musical substance, making it equally effective as a concert feature or a moment of levity that audiences genuinely connect with.

What to expect

Lighthearted and affectionate, with the kind of melodic warmth that makes listeners want to sing along. The arrangement honors the song's inherent gentleness while adding harmonic color that keeps singers engaged throughout.

Who it's for

Male choirs seeking accessible pop repertoire that works for both concert and community settings. This arrangement sits at an intermediate level, making it approachable for developing ensembles while remaining musically satisfying for experienced groups.

How to get the most out of it

  • Balance the lead line carefully across your tenors so the familiar melody sits naturally without overpowering the harmonic support underneath.
  • Lean into the pop idiom; the arrangement thrives when singers commit to a conversational, warm tone rather than classical formality.
  • Pay attention to phrase breathing and text clarity, especially in faster passages where the arrangement might compress multiple lyrical ideas.

How to use it

Program this as a palate cleanser between heavier classical selections, or anchor a set of contemporary pop standards that showcase your choir's range. The song's universal message about friendship also works beautifully in end-of-year concerts or community benefit performances.

Skills your students will build

  • Singing in a contemporary pop idiom with appropriate tone and phrasing
  • Four-part harmonic listening in a largely homophonic context
  • Text clarity and diction at varying tempos
  • Balancing melody with supporting vocal lines

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