You're the Top: SAB Choral Octavo

Mark Hayes's arrangement cracks open Porter's witty rhyme scheme for three-part voices without sacrificing the song's charm or comedic timing. Directors will appreciate how this version maintains the list-song structure while keeping vocal lines singable and clear, making it accessible for developing choirs while still sounding Broadway-polished. The arrangement gives you a legitimate standard that works as both a crowd-pleasing performance piece and a teaching tool for diction, phrasing, and theatrical delivery.

Sophisticated and playful. This is a song that winks at the audience while celebrating the glamour and wit of 1930s popular culture. Singers will feel the joy of performing a genuine standard, complete with Porter's signature elegance and charm.

SAB choirs at the intermediate to advanced level will find this arrangement perfectly pitched. It works for show choirs, adult community choirs, and advanced high school or college ensembles looking for a Broadway standard that doesn't require a full orchestra.

• Nail the diction in the list sections. Porter's rapid-fire rhymes demand crisp articulation and clean consonants; rehearse these passages slowly at first, then gradually increase tempo while maintaining clarity.
• Shape each phrase to highlight the humor. These compliments work best when singers land the rhymes with personality rather than rushing through them mechanically.
• Use the recorded accompaniment to lock in harmonic accuracy while you build performance style, then gradually layer in more expressive rubato as the choir grows confident.

Program this as a standalone concert highlight or pair it with other Broadway standards to create a musical theatre set. It works beautifully as a closer when you want to leave your audience smiling, or as an opening number that signals your singers are comfortable with style and character. The recording accompaniment makes it easy to feature at a showcase or informal performance without a full band.

• Clear diction and articulation in rapid-fire text
• Phrasing and comedic timing in musical theater style
• Part independence in three-part SAB voicing
• Lyrical interpretation and character performance