With You: SSA Choral Octavo

Jay Althouse's arrangement preserves the emotional core of Schwartz's melody while writing idiomatically for SSA voices. The piece sits comfortably for treble choirs and provides genuine musical substance without requiring soloists or splitting into too many divisi sections. This is the kind of contemporary selection that helps choirs connect with the repertoire they hear in the world while maintaining legitimate musicianship.

Gentle and intimate, with the kind of melodic simplicity that hides careful harmonic writing underneath. The piece unfolds with quiet intensity, drawing listeners in through its vulnerability rather than vocal display or dramatic gestures. Singers experience the satisfaction of blending into something greater than individual parts, creating a unified emotional statement.

SSA choirs at the intermediate to advanced level who want accessible Broadway repertoire with musical sophistication. Singers benefit from exposure to contemporary harmonic language within a familiar, emotionally resonant song. Directors seeking a concert selection that engages audiences and showcases choir artistry will find this both rewarding and programmable.

• Shape the phrasing to follow the text's emotional arc rather than locking to a metronomic pulse; the hauntingly beautiful quality depends on singers responding to one another and to the lyrical content.
• Balance the arrangement so the melody remains clear while supporting vocal lines deepen the harmonic color. This often means keeping the highest part slightly forward without letting lower voices disappear.
• Use the recorded accompaniment as a rehearsal tool early on to secure entrances and harmonic relationships, then reduce reliance on it as ensemble confidence grows so singers hear each other fully.

This works beautifully as a bridge between classical and contemporary programming, offering a concert slot where Broadway and art song can coexist naturally. Consider pairing it with other contemporary secular selections or positioning it as a moment of contrast within a classical-heavy program. The eight-page length makes it manageable for concert planning while substantial enough to justify its own spotlight.

• Balancing melody and harmony within a contemporary harmonic language
• Shaping phrase structure through text expression rather than dynamic symbols alone
• Blending SSA voicing to create unified sound across multiple voice parts
• Interpreting Broadway-style vocal production within an ensemble context