What Is This Feeling? (from Wicked) (Full version) (arr. Roger Emerson): SAB Choral Octavo

Roger Emerson's SAB arrangement unlocks this ensemble showstopper for choirs without the vocal weight of a four-part section. The energy and humor of the scene remain intact, while the three-part texture makes it genuinely singable for a wide range of voice types and experience levels. Audiences light up when they recognize this Wicked moment, and your singers will feel the thrill of performing Broadway at a level they can actually achieve.

Effervescent and theatrical, with an undercurrent of genuine tension masked by charm. Schwartz builds the song around conflicting emotions: attraction and denial, honesty and pretense. The music sparkles on the surface while something more complicated churns underneath, creating a number that feels both light and deeply felt.

Choirs looking for accessible Broadway material that doesn't sacrifice sophistication or impact. This works for high school ensembles, adult community choirs, and college groups seeking concert repertoire with popular appeal. The SAB voicing removes the barrier of a limited tenor section while keeping the drama fully intact.

• Anchor the harmonic foundation in your second sopranos and altos; their lines carry the movement while sopranos float the melody. Balance matters more than volume here.
• Treat the rhythmic punctuations (the staccato moments) with crisp articulation and exact cutoffs. These beats are comedic timing, and precision makes them land.
• Let the text drive the dynamics. The song is about escalating emotional tension between characters, so dynamics should climb progressively through phrases rather than stay static.
• Coordinate with your accompanist on the orchestral flourishes and underscore. The arrangement depends on clear accompaniment cues to keep everyone locked together through the dramatic moments.

Schedule this on a concert that includes other contemporary musical theater or modern pop arrangements, where it will anchor a set thematically. The fifteen pages and full arrangement make it substantial enough to stand as a significant moment in your program without overwhelming other pieces. It also works beautifully as a spring concert selection when audiences and singers alike are ready for something fun and recognizable.

• Balancing three distinct melodic lines within a harmonic texture
• Executing syncopated rhythms with precision and musicality
• Shaping phrasing through dynamic layering rather than sustained power
• Responding to text inflection and character motivation in a theatrical context