Try to Remember (from The Fantasticks): Choral SoundPax

Jay Althouse's arrangement respects the song's inherent beauty while giving it fresh energy through the jazz waltz sections, making it engaging for singers without overshadowing the melody. The straightforward opening followed by the rhythmic pivot keeps rehearsals interesting and gives your ensemble two distinct musical experiences in one piece. It's genuinely accessible for groups of any size, which means you can program it confidently whether you're working with your chamber singers or your full ensemble.

The opening unfolds with the tenderness that made The Fantasticks legendary, allowing the melody to speak with intimacy and simplicity. When the jazz waltz arrives, the piece shifts into something lighter and more rhythmically playful, giving singers a chance to explore swing articulation and jazz phrasing while remaining rooted in the original's emotional core.

This arrangement works for any choir director seeking reliable, singable repertoire that spans musical theater and jazz idioms. Whether you're building a pop choral concert, introducing students to theatrical music, or programming an all-ages concert, this piece serves multiple ensemble sizes without requiring a full orchestra.

• Balance the vocal melody against the rhythm section during the jazz waltz sections; the tune should float above the accompaniment without fighting for attention.
• Let the straightforward opening breathe with natural phrasing. This section sets up the emotional anchor before the arrangement shifts into swing feel.
• Shape the transition into the jazz waltz deliberately so the tempo and rhythmic approach feel intentional, not abrupt. Rehearse this moment separately if needed.
• Use the recorded accompaniment to lock in the swing articulation and rhythmic precision the waltz sections demand.

Open a concert with this piece to establish a theatrical or contemporary choral identity right away. It pairs naturally with other musical theater selections or with original jazz compositions, and it's substantial enough to anchor a pop choral set without requiring full orchestration. Consider it for spring or Broadway-themed concerts where you want something immediately recognizable yet arranged fresh.

• Singing in swing articulation and jazz phrasing
• Navigating style contrasts within a single piece (ballad to jazz waltz)
• Maintaining ensemble precision in waltz meter (3/4) with syncopated rhythms
• Blending with recorded accompaniment and rhythm section parts