The Schuyler Sisters: SAB Choral Octavo
From the Broadway musical Hamilton
Words and music by Lin-Manuel Miranda / arr. Alan Billingsley
Item: 00-PO-0005869
Minimum order quantity: 20 copies
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More about this title
About the Composer: Lin-Manuel Miranda
Lin-Manuel Miranda is a composer, lyricist, and playwright whose work has redefined musical theater for contemporary audiences. His 2015 musical Hamilton became a cultural phenomenon, earning 11 Tony Awards and a Pulitzer Prize for Drama. Miranda's compositions blend hip-hop, R&B, jazz, and classical music with sophisticated storytelling, creating scores that appeal to both theater veterans and listeners new to the form.
Beyond Hamilton, Miranda has composed for In the Heights, Tick, Tick... Boom!, Encanto, and Moana, consistently demonstrating his ability to anchor emotional character work in rhythmically propulsive, melodically memorable music. His arrangements and compositions are now standard in choral and music education settings, offering students access to contemporary Broadway writing that reflects the musical vernacular of their generation.
Why we love this
Alan Billingsley's arrangement captures the theatrical swagger and precision of the Broadway original while remaining fully achievable for school and community choirs. The balance of solo spotlighting, rhythmic unison sections, and layered three-part voicing keeps every singer engaged; there's no filler here. Programming this piece signals to your students that contemporary musical theater belongs in the choral canon alongside classical standards.
What to expect
Infectious energy propelled by hip-hop rhythms, Broadway orchestration, and character-driven melodies that paint vivid personalities. The piece swings between moments of intimate solo singing and explosive, unified choral sections, creating a sense of theatrical momentum and contemporary cool.
Who it's for
SAB choirs in middle schools, high schools, and community settings looking for contemporary repertoire with genuine theatrical appeal. This arrangement works for mixed-voice groups ranging from smaller ensembles to larger choirs; the three-part structure allows flexibility in casting and doubling.
How to get the most out of it
- Separate your soloists early in rehearsal and drill their rhythmic independence against the full ensemble. The patter singing sections demand crisp diction and exact rhythmic placement; the recorded accompaniment will expose any wavering.
- Mark clear breath points and phrase boundaries in the parts, especially during the rapid-fire rap sections. Students often oversustain or rush without visible landmarks.
- Layer the choral background riffs gradually. Start with the primary vocal line, then add each supporting voice part in isolation so singers hear how their harmony sits within the groove.
- Use the character music themes as emotional anchors. Remind singers which sister's musical motif is playing and how each woman's personality should color that phrase.
How to use it
This works beautifully on a concert that celebrates contemporary musical theater, or as a standalone show-stopper that appeals to audiences beyond traditional choral listeners. The 20-page score and Broadway connections make it ideal for spring concerts, showcase events, or any program where you want to demonstrate your singers' range and relevance.
Skills your students will build
- Rhythmic precision in hip-hop and rap idioms
- Patter singing and rapid-fire diction
- Layered harmonic independence while maintaining rhythmic groove
- Character-driven vocal expression across multiple theatrical styles
- Ensemble balance between soloists and supporting voices