There Once Was a Man: SAB Choral Octavo

Arrangers who understand the theatrical moment know that comedy needs precision, and Andy Beck delivers exactly that here. The piece balances laugh-out-loud fun with genuine musical substance: the battle-of-the-sexes premise gives every voice part agency, the clapping and stomping create natural percussion that engages the whole ensemble, and the literary references spark real character work from your singers.

This is pure theatrical joy. The piece bounces with Broadway energy: playful, irreverent, and designed to make singers smile while they're performing. The literary references and competitive banter create a spirited atmosphere that feels more like a scene from a show than a traditional choral number, drawing audiences in through sheer personality and charm.

Choirs with solid musical fundamentals and comfort with theatrical style will thrive with this arrangement. Middle school through adult community choirs find this piece especially rewarding because it invites non-traditional performers to invest in a fun, character-driven performance without overwhelming musical complexity.

• Treat the clapping and stomping as integral rhythmic elements rather than afterthoughts. Lock these gestures to the beat during rehearsals so they feel coordinated and punchy, not scattered.
• Clarify the dramatic stakes of each section: Altos and basses are building their case with passion, and the soprano/tenor responses should feel like witty counterarguments. Encourage singers to commit to the humor without winking at the audience.
• Use the optional recorded accompaniment strategically. Early rehearsals benefit from the full track to absorb the style and energy, but plan rehearsals where the choir sings unaccompanied to strengthen internal tuning and blend.

Program this as a centerpiece of a lighter concert or as the closer before an encore. Its theatrical confidence and crowd-pleasing nature make it ideal for community performances, school concerts where you want to showcase personality, or any program that benefits from a high-energy moment that leaves audiences smiling. It also pairs well with other contemporary pop arrangements or Broadway selections.

• Rhythmic independence between voice parts (Altos and basses maintain steady patterns while sopranos and tenors trade lines)
• Theatrical interpretation and character development through text
• Rhythmic precision with integrated body percussion (clapping and stomping)
• Blend and balance in SAB writing with unequal voice distribution
• Ensemble comic timing and phrasing for dramatic effect