With You: SAB Choral Octavo

Jay Althouse's arrangement captures the intimacy of this Broadway gem while making it genuinely singable for mixed voices at the SAB level. The three-part voicing never feels cramped or oversimplified; instead, it opens the piece to choirs that might otherwise skip it due to higher soprano demands. This is the kind of arrangement that works equally well as a concert closer or a meaningful addition to a spring pops program.

This arrangement preserves the tender vulnerability of Schwartz's original while letting the choir inhabit the emotional core of the song. The harmonic language feels both contemporary and warmly melodic, creating a moment of quiet connection that lingers after the final chord releases. There's an understated elegance here that rewards careful listening and honest singing.

Choirs with developing but confident singers across all three parts. The arrangement suits mixed ensembles of 30-80 voices and works especially well for programs where you want Broadway representation without the vocal extremes of full orchestration versions. It's ideal for groups looking to bridge pop and theatrical repertoire without sacrificing musicality.

• Shape the opening phrases with breath and legato line rather than articulation; the gentle quality hinges on sustained vowels and minimal consonant weight.
• Balance the parts so that the harmonic movement in the lower voices supports rather than competes with the melody; this creates the haunting quality the arrangement aims for.
• If using the recorded accompaniment, allow singers to hear it in rehearsal well before performing, and consider a live piano reduction for greater flexibility in tempo and phrasing control.

Position this as a contrast piece in a concert that mixes genres, or pair it with other Schwartz-arranged pop selections to build a thematic set. The eight-page length and accessible voicing make it a strong choice for spring concerts, end-of-year celebrations, or programs celebrating Broadway's influence on popular song. It also works beautifully as a finale for a concert featuring lighter, more accessible repertoire.

• Sustaining legit vocal lines across phrase boundaries without breath interruption
• Balancing harmonic texture while maintaining independence of part
• Interpreting musical theater language through choral arrangement
• Managing dynamic control and emotional subtext in contemporary secular repertoire