There's No Tune Like A Show Tune (arr. Mark Hayes): SSA Choral Octavo

Hayes understands what makes SSA singers light up: this medley spins through recognizable Broadway moments with the kind of rhythmic snap and harmonic color that feels effortless to sing but sounds polished in performance. His orchestration background means the piano part actually supports what's happening in the voices rather than competing with it, and at 14 pages, it's substantial enough to close a concert convincingly without demanding months of rehearsal.

Stepping into a Broadway rehearsal with friends who know the room. The energy is unpretentious and propulsive, with moments of genuine warmth woven through the comedic snap. You're singing music that feels contemporary and alive, not like a museum piece.

Any SSA or SSAA choir seeking substantial concert repertoire that connects with audiences immediately. This works equally well in high school and college settings where singers need the confidence that comes from performing music they recognize and enjoy.

• Lock the rhythmic vitality early. Broadway style lives in the precision of your eighth-note attacks and releases; sloppy togetherness here reads as unprepared rather than relaxed.
• Balance the melody line carefully across your trio of parts. In passages where the tune passes between soprano voices, use light rehearsal numbers and quick sectionals to ensure the handoff feels inevitable, not assembled.
• Let the piano set the groove and style for each tune shift. If your pianist leans into the character of each medley section, your singers will follow naturally into the right energy and diction.

This medley anchors a Broadway or theater-themed concert brilliantly, or livens a more formal program as a second half opener when you need to shift the room's energy and mood. It also fills the role of a solid closer if your choir thrives on leaving audiences smiling and tapping their feet.

• Stylistic sensitivity to Broadway idioms and phrasing conventions
• Rhythmic precision in syncopated and synth-driven textures
• Part independence while maintaining phrase cohesion across a three-part texture
• Diction clarity in rapid, speech-like rhythmic passages
• Ensemble response to piano-driven arrangements with prominent accompaniment figures