We Dance: SATB Choral Octavo

Andy Beck's arrangement preserves the infectious energy of the original while making it genuinely playable for high school choirs. The syncopation stays engaging without becoming labored, and the island groove translates beautifully to a cappella or with accompaniment. Programming a Tony-winning number from a recent Broadway revival gives your choir access to contemporary musical theater that audiences actually know and care about.

Immediate joy and motion. The bright island groove pulls listeners into the Caribbean warmth of the show's setting, while the syncopation keeps energy forward and playful throughout. Singing this feels celebratory and alive, like you're part of something bigger than the rehearsal room.

High school mixed choirs and community groups looking for contemporary Broadway material that audiences recognize. The 12-page octavo sits at an accessible-to-intermediate difficulty level, making it suitable for singers with basic music reading skills who are ready for syncopated rhythm work.

• Lock the syncopated rhythms between sections before worrying about blend. Once the parts feel secure individually, the groove will lock in naturally.
• The accented choral singing requires clear articulation on short vowels. Rehearse the attacks with crisp consonants to capture the rhythmic vitality.
• If using the recorded accompaniment, have singers listen to it daily during the week before rehearsal. Familiarity with the groove removes the cognitive load during class.
• Stagewise, lean into the movement and staging suggestions in the score. This piece demands physicality to land its energy, and permission to move often unlocks better singing.

Open a spring concert or cabaret with this piece to set an upbeat, contemporary tone before moving into other repertoire. It also works well in a Broadway-focused concert or as a counterweight to more serious choral literature on a mixed program.

• Reading and executing syncopated rhythms across four parts
• Maintaining groove and pocket while singing sustained pitches
• Coordinating rhythmic articulation within a choral section
• Responding to recorded accompaniment without drifting tempo
• Integrating basic stage movement with vocal performance