Together Wherever We Go: SSA Choral Octavo

This arrangement captures the heart of one of Broadway's most genuinely moving friendship anthems without requiring advanced vocal technique. Jay Althouse's SSA setting keeps the harmonic integrity intact while making the piece accessible to developing choirs, and the included movement suggestions give you choreography that feels natural rather than gimmicky.

Honest and tender. This is the moment in Gypsy when the two characters set aside conflict and simply acknowledge what they mean to each other. The melody sits warmly in the treble range, and the harmony supports rather than complicates the emotional directness of the lyric.

Treble choirs at the middle school and early high school level, as well as mixed choirs looking to program a unison or light divisi piece that doesn't talk down to singers. Any director seeking a moment of genuine connection in a concert program will find this arrangement does exactly what it promises.

• Balance the melody between parts during unison and divisi sections; the warmth of this song depends on singers hearing each other, not drowning each other out.
• Work the text for conversational phrasing rather than musical phrases. These lyrics are a promise, not a proclamation.
• Use the recorded accompaniment strategically during rehearsals to lock rhythms early, then spend final rehearsals with just voices and piano to build ownership of the parts.
• Keep the tempo conversational and steady. This song gains power through sincerity, not speed.

Save this for the closing piece of a spring concert or a tribute show celebrating ensemble and community. It also works as a benediction for a workshop day, class concert, or any rehearsal where you want to remind singers why they gathered together in the first place.

• Sustained legit singing in the treble range
• Singing simple divisi with clear part independence
• Diction clarity when text carries emotional weight
• Ensemble balance in unison and two-part sections
• Connecting choreography to vocal line without sacrificing pitch or intonation