The Best Is Yet To Come: Choral Instrumental Pak
By Cy Coleman / By Carolyn Leigh / As performed by Michael Buble / Arranged by Paris Rutherford
Item: 35-PK00151593
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Description
Your group will really shine in performance with this popular Cy Coleman standard recently covered by Michael Buble and arranged here in a hot swing style. Duration: ca. 3:40.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00151593
More about this title
About the Composer: Cy Coleman
Cy Coleman (1929-2004) was a composer and pianist whose gifts for melody and harmonic sophistication made him one of Broadway's most enduring voices. Beyond theater, Coleman wrote jazz standards that have become repertoire staples, recorded by everyone from Ella Fitzgerald to contemporary artists. His work bridges classical training with jazz sensibility, making his music deeply rewarding for student performers learning to balance lyrical phrasing with rhythmic precision.
Why we love this
Paris Rutherford's arrangement captures the infectious energy of the Michael Bublé version while remaining accessible for student choirs. The swing style feels contemporary and engaging without requiring extended technique, giving your ensemble a chance to perform a song they've likely heard on the radio with genuine musicality.
What to expect
Optimistic and buoyant, with the polished sophistication of a Bublé recording but written for singers and musicians still building their jazz vocabulary. The swing feel invites a relaxed but precise execution, and the melody sits in a comfortable range where singers can focus on phrasing rather than straining for notes.
Who it's for
Concert choirs and jazz ensembles looking for repertoire that appeals to audiences and performers alike. This works equally well for groups comfortable with standards-based repertoire and those branching into jazz for the first time.
How to get the most out of it
- Lock the rhythmic vocabulary early. The swing eighth-note feel is central to this arrangement's character, so establish it in sectionals before running the full piece.
- Lean into the lyrical moments. Coleman's melodies breathe between phrases; resist the urge to push through the architectural pauses that give the melody its shape.
- Blend the rhythm section voicing with your ensemble sound. The choral parts sit alongside instrumental writing, so balance the blend in rehearsal to ensure neither overshadows the other.
- Shape dynamics across the full 3:40 arc. Without careful attention to the arc, swing arrangements can flatten. Map the peaks and valleys early so the performance feels propulsive rather than static.
How to use it
Place this as a standout moment in a concert mixing standards with classical work, or use it as the closing number in a pops or jazz concert to send audiences out energized. The familiarity of the tune makes it an excellent bridge between traditional choir programming and contemporary popular music.
Skills your students will build
- Swing eighth-note articulation and phrasing
- Balancing choral blend with instrumental accompaniment
- Jazz standard interpretation and stylistic nuance
- Sectional coordination between melody, harmony, and rhythm parts