There's No Tune Like A Show Tune (arr. Mark Hayes): SATB Choral Octavo
There's No Tune Like A Show Tune (arr. Mark Hayes) Sheet Music Preview

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

Arranged by Mark Hayes

Item: 35-DS00430956
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Additional Details
Publisher: Hal Leonard
Page Count: 14
SKU: 35-DS00430956

More about this title

About the Arranger: Mark Hayes

Mark Hayes

Mark Hayes has built a prolific career as a composer, arranger, and conductor with over 1,750 published works spanning classical, sacred, and popular idioms. After earning his Bachelor of Music degree summa cum laude in Piano Performance from Baylor University, he established himself as a sought-after guest conductor at major venues including Lincoln Center, Carnegie Hall, and the National Cathedral, premiering his own significant works like the Requiem and Gloria.

Beyond his concert music credentials, Hayes has demonstrated particular mastery in adapting material for musical theater and popular song. He orchestrated the musical Madame Buttermilk and arranged scores for theatrical productions, while maintaining a distinctive interest in keyboard writing. His catalog includes over 100 published piano books ranging across gospel, jazz, classical, and Broadway idioms, reflecting his conviction that accessible, well-crafted arrangements can serve both artistic and educational purposes.

Why we love this

Hayes knows how to honor the spirit of Broadway while opening it up for mixed voices. This arrangement captures the swagger and style of great show tunes without demanding a specialist jazz ensemble, making it genuinely singable for a standard concert choir while keeping the fun completely intact.

What to expect

Sophisticated fun. There's genuine wit and stylistic confidence here, the kind of arrangement that makes singers feel like they're delivering something theatrical and smart rather than generic pop-choir filler. It carries the energy of a Broadway moment without the technical pretense.

Who it's for

Choirs wanting to program appealing, singable Broadway repertoire that doesn't require specialized jazz training or a rock band setup. This works equally well for concert choirs, show choirs finding hybrid material, or community ensembles seeking polished entertainment value with real musical substance.

How to get the most out of it

  • Lean into the rhythmic swagger. Show tune language lives and dies on precision in syncopation and offbeat articulation; mark those subdivisions clearly in rehearsal.
  • Shape the melodic lines with the natural phrasing of sung theater speech rather than pure bel canto. Let the text drive the legit singing.
  • Balance soloistic moments within the ensemble; Hayes likely gives individual voices breathing room, so establish which phrases sit with the full choir and which ones need spotlight energy.
  • Use the recorded accompaniment early to let singers internalize the groove and learn how their parts sit relative to the harmonic and rhythmic backdrop.

How to use it

Slot this into a concert where you want to shift the mood and show your ensemble's range. It pairs naturally with other Hayes arrangements, sits well in a mixed program (especially one mixing classical, pops, and show material), and works as a statement closer if you want to send the audience out smiling.

Skills your students will build

  • Stylistic flexibility in Broadway phrasing and articulation
  • Rhythmic precision in syncopated and offbeat figures
  • Blend and balance in four-part harmony with embedded solo moments
  • Text delivery matching theatrical inflection within choral setting

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