We Love the '60s: SATB Choral Octavo

This medley captures the infectious energy of 1960s pop in an arrangement that keeps everyone engaged for a full seven minutes without a dull moment. Jay Althouse's gift for pacing and vocal writing means each song gets its own character while the transitions feel seamless, making this ideal when you want a crowd-pleasing closer that feels both substantial and fun. The blend of recognizable hits gives your audience built-in reasons to smile while your singers get the satisfaction of performing accessible, well-crafted arrangements.

This is pure 1960s nostalgia wrapped in contemporary arranging craft. The medley pulses with genuine joy, moving from the sass of "He's a Rebel" through the romantic warmth of "Sealed with a Kiss" and the upbeat swing of "Higher and Higher," creating a musical snapshot of an era known for both innovation and feel-good groove. Your singers will feel the fun of these songs in their bodies, and your audience will leave humming.

Concert choirs and show choirs at middle school through adult levels will find this medley accessible yet satisfying to perform. Directors seeking a seven-minute finale that connects with audiences of mixed ages and delivers strong ensemble musicianship will appreciate both its entertainment value and its choral writing quality.

• Lean into the rhythmic precision of each song's opening; the medley's momentum depends on sharp attacks and confident ensemble unity across style changes.
• Use the recorded accompaniment to lock tempos during rehearsal, especially where one song transitions to the next, so singers internalize the pacing without conductorial fussiness.
• Layer in the staging and movement suggestions provided with the octavo to break up the medley's middle section and keep visual interest high for the audience.
• Balance pop stylings (looser phrasing, swing rhythms on certain sections) with clarity on pitch and diction so the medley lands with polish rather than approximation.

Program this as a second-to-last number on a concert to reset the room's energy after a heavier or more serious work, or use it as your closing show-stopper if you want the evening to end on a high, participatory note. It works equally well in a pops concert, a spring showcase, or as the opening number of a show choir performance where you want to establish immediately that the evening will be entertaining.

• Moving smoothly between contrasting styles and tempos within a single piece
• Balancing pop phrasing with choral blend and intonation
• Ensemble unity and rhythmic precision across multiple song transitions
• Executing stagecraft and choreography while maintaining vocal control