Wheels of a Dream (from the musical <i>Ragtime</i>) Sheet Music Preview

Wheels of a Dream (from the musical Ragtime): SATB Choral Octavo

From the Musical Ragtime

Lyrics by Lynn Ahrens, music by Stephen Flaherty / arr. John Leavitt

Item: 00-PO-0002353

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Description
This dramatic song is the centerpiece of the 1998 musical Ragtime, featuring a Tony award-winning book and score. An acclaimed 2009 production brought this musical back into the public's eye. Stunning.

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Additional Details
Series: Alfred Pop Choral Series
Publisher: Alfred Music
Page Count: 12
SKU: 00-PO-0002353

More about this title

About the Composer: Stephen Flaherty

Stephen Flaherty has composed the scores for some of Broadway's most distinctive musicals, including Ragtime, Anastasia, and Once on This Island. His work blends theatrical storytelling with sophisticated harmonic language, creating scores that challenge singers while remaining deeply accessible to audiences. Flaherty's music demands precise ensemble work and emotional commitment from performers, making his pieces valuable additions to any choral repertoire.

Why we love this

John Leavitt's arrangement preserves the emotional weight of this Tony-winning moment while giving SATB choirs the harmonic sophistication and dramatic arc they need to make it matter. The piece sits in the sweet spot between accessibility and artistry, allowing strong high school and college choirs to deliver a show-stopping performance without overextending their singers' range or technique.

What to expect

The piece carries the yearning and determination that defines the musical itself, with rich harmonic coloring that shifts between intimate vulnerability and soaring ensemble moments. Singers experience the thrill of Broadway drama without straying far from their range, and audiences feel the emotional truth that made Ragtime resonate across multiple generations.

Who it's for

This arrangement works for advanced high school choirs and college ensembles seeking substantial Broadway material with real dramatic stakes. Directors programming concert seasons or musical theatre reviews will find this a worthy centerpiece that showcases both individual singers and ensemble artistry.

How to get the most out of it

  • Shape the dynamic arc across the full 12 pages rather than treating it as a series of isolated sections; this piece builds toward its moments of greatest intensity, and early under-singing will flatten the overall impact.
  • Balance the recorded accompaniment carefully in rehearsal so it supports without overwhelming your choir's voices, especially during ensemble unison passages where clarity matters most.
  • Attend to the ragtime rhythmic character in articulation and diction; the syncopation should feel natural and conversational, not stiff or over-articulated.
  • Give soloists room to breathe and connect emotionally with the text; this arrangement spotlights individual voices, and those moments deserve singers who understand the narrative weight they're carrying.

How to use it

Anchor a concert around this piece if you're building a Broadway or contemporary musical theatre program. Alternatively, program it as a standalone dramatic selection that signals your choir's ability to handle material with textual and musical sophistication, particularly effective as a second act opener or closer.

Skills your students will build

  • Sustained legit singing through dynamic swells and longer phrases
  • Ensemble balance in SATB texture with moving inner voices
  • Ragtime rhythmic precision, especially syncopated accompaniment figures
  • Dramatic phrasing and emotional communication within a structured arrangement
  • Diction clarity in rapid-moving passages and syncopated text setting

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