Things We Do for Love: Choral Instrumental Pak

Greg Gilpin's arrangement captures what made the original so irresistible while opening it up for choir. The swing feel stays light and driving rather than heavy, the harmonies are sophisticated enough to keep singers engaged, and the pop sensibility means your students will actually want to practice it. It's the kind of song that can anchor a concert program with real crowd energy.

Bright and conversational with an underlying sweetness. The swing rhythm gives it lift and humor while the harmonies provide enough sophistication to feel polished rather than novelty. There's real warmth beneath the pop sheen.

Concert choirs and show choirs looking for contemporary pop material that audiences recognize and students enjoy performing. Works equally well for mixed voice and male voice settings, giving your program flexibility without needing multiple arrangements.

• Keep the swing feel crisp and bouncy rather than laid-back. The tempo should feel like it wants to move forward.
• Balance the parts so the melody sits clearly above the harmonies. The arrangement has enough textural interest that blend matters more than power.
• Mark phrase endings where breath happens naturally in speech, not just where notation suggests. This keeps the lyric conversational and front-loaded.
• If you're adding staging or choreography, keep movement understated during the verses and save bigger moments for the chorus swells.

Slot this into a concert where you want to shift energy after something classical or more introspective. It pairs well with other 1970s material or sits effectively as the finale of a lighter set. The upbeat character makes it a natural closer that leaves audiences feeling buoyant.

• Swing rhythm interpretation and maintaining lilt through syncopated passages
• Layered harmonic listening in homophonic textures
• Diction clarity in fast-moving pop lyrics
• Phrasing across irregular phrase lengths
• Ensemble flexibility when balancing melody with countermelody