You're the One That I Want: 2-Part Choral Octavo

Alan Billingsley's 2-part arrangement strips away nothing essential from Farrar's original hook while making the song genuinely singable for mixed-age choirs and younger ensembles. The energy and theatrical character of the piece come through clearly without requiring advanced harmonic or rhythmic reading, so your singers stay connected to the fun and confidence this song demands. Programming a song this recognizable gives your choir an immediate connection with audiences and lets students experience what it feels like to deliver a genuine crowd-pleaser.

From the first note, this arrangement radiates the playful confidence and youthful swagger of the 1950s setting. The melody bounces with infectious charm, and the supporting harmonies are lean and driving, giving the whole piece a snappy, theatrical quality that makes singers feel like they're part of something genuinely fun and contemporary. It's the kind of song that gets stuck in your head for days after rehearsal.

This arrangement works perfectly for middle school through adult community choirs seeking contemporary, recognizable repertoire that requires accessible vocal ranges and straightforward part writing. The 2-part texture makes it ideal for mixed ensembles where singers may have limited experience with more complex harmonic structures but are eager to perform something energetic and immediately rewarding.

• Establish a clear, driving tempo from the first note. This song needs momentum and forward motion to capture the infectious energy of the original; let the rhythm section lock in early so the choir can relax into the groove.
• Treat the dialogue or storytelling moments with character and personality. If the arrangement includes any spoken or rhythmically loose passages, encourage singers to inhabit those moments as actors, not just readers.
• Balance the melody line against the supporting parts with intention. The hook is unmistakable, but make sure the inner voices sit just slightly back so listeners always hear the primary tune.
• Use the recorded accompaniment to build consistency in phrasing and tone. Rehearsing with the track weekly helps singers internalize the feel and polish ensemble cohesion before performance.

Program this as a guaranteed audience favorite in a spring or pop concert, where it will stand out as a bright, energetic change of pace from more serious repertoire. It also pairs well with other pop standards or musical theater selections in a themed concert celebrating songs from film and television. The built-in choreography possibilities (referenced on the Razzamatazz DVD) make it an excellent choice for a performance that incorporates movement or staging.

• Rhythmic precision in syncopated pop idioms
• Character and theatrical expression in contemporary choral music
• Blend and balance between melody and supporting harmonic voices
• Sustained ensemble energy and forward motion in up-tempo material