More than Candy: Finding the Sweet Spot in Pop Music

As a choral educator, I consider myself a specialist in pop music for the ensemble. Helping choirs discover and embrace the artistry in popular styles—sometimes for the very first time—is a passion of mine. I can’t get enough of this diverse and vibrant body of repertoire, and I know that I’m not alone!

The return to in-person singing has generated even more interest in pop music, as teachers seek effective recruitment tools to rebuild their choral programs. Recently, my inbox has been flooded with requests for titles that “have substance” or “are more than just candy.” This burst in popularity is exciting to someone like me, and I am happy to help.

Popular music is a valid and essential part of the choral experience. Whether you have your roots in the show choir world, or you hail from a more traditional concert choir or chamber ensemble, you can use popular music beyond the token “dessert” piece. After all, most of the same techniques used in traditional choral styles are welcome in pop music. Let’s explore some strategies for creating a quality choral experience with pop music.

Make expressive choices

I always encourage directors to think beyond the gimmick or novelty. Remember, words are important. When picking a pop piece, ask; how can the lyrics inform our musical choices? Program selections that invite singers to explore how textual elements can be expressed artistically.

Titles from the Great American Songbook are rich with these opportunities. For instance, consider this phrase from Cole Porter’s “You’d Be So Nice to Come Home To” — “Under stars chilled by the winter.” Adding a slight crescendo on “stars” and then getting quiet again on “chilled” will actively express the text, and a crisp “ch” at the start of “chilled” will evoke the feeling of a cold snap. Here’s a stellar performance of this song with plenty of intentional expression!

These types of musical choices are applicable in more recent music as well. The following phrase in Dua Lipa’s “Don’t Start Now” presents another lovely opportunity for dynamic shading—“I’m all good already, so moved on it’s scary. I’m not where you left me at all!” A crescendo is certainly welcome here, as singers will want to express the rising excitement of this lyric.

Pop arrangements are often less prescriptive than traditional pieces, so there are not as many markings in the score. This means that singers get to explore ways to be expressive and effective performers. Allowing yourself the freedom to make artistic musical choices (whether you’re singing Cole Porter or Dua Lipa) will lead to a more meaningful and personal performance.

Adapt when needed

Do your singers beg for a specific song, but a suitable voicing is not published? Don’t be afraid to adapt an existing arrangement to fit your choir, especially if you are looking to simplify. Once you familiarize yourself with an arrangement, it’s easy to lay out a roadmap of how to make the piece more accessible.

My middle schoolers were inspired by Demi Lovato’s recent live performance of “Lovely Day,” and I was thrilled that they wanted to sing one of my favorite Bill Withers classics! I initially thought that the existing choral arrangement would be too complicated for a 3-part group, but with a little bit of creativity, we were able to make it work perfectly! Here’s an easy way to simplify “Lovely Day” to make it accessible to beginning groups:

• Sing all the verses in unison together, then divide into two parts for the call-and-response “Then I look at you … ” section. If you have a Part III, you can even preserve the cascading voices in the third verse.
• In the chorus, have Part I sing the sustained note and Part II sing the repeating “lovely day” figure. If you have a Part III or a descant, assign them to the upper line that comes in at measure 25. The final chorus at measure 75 can be sung exactly like the first two. Not using a soloist? Just have Part I come in with “a lovely day” anywhere in the middle of measure 74 and wait for the drums to kick in. I promise it still sounds perfectly natural!
• For the outro (measure 83), have Part I sing the Soprano part and Part II sing the Alto part. Part III (if you have it) can sing the tenor part or whichever part is comfortable.

For more examples of how to simplify advanced arrangements, I recommend reading Lisa DeSpain’s Hamilton Hacks article here on the Alfred Music Blog.

Consider accompaniments options

Publishers call on some of the best session musicians in the business to produce professional accompaniment recordings of each title. If it’s appropriate for your group and performance venue, using a recorded SoundTrax is a great way to add some punch to your performance. But remember that these studio recordings are just one musical interpretation. If you perform live, you can always modify the accompaniment based on your own taste and the instruments that you have available.

Let’s consider the song “10,000 Hours.” The Alfred SoundTrax is a clear nod to the original Dan + Shay recording, and using it in concert will make the song instantly recognizable. However, if you choose to perform with piano only, it is designed to work on its own, with no other instrumentation required. In fact, I modelled the piano part after the Emma Heesters cover, which has a gentler, sweeter sound than the original. Since I always encourage singers to listen to as many cover versions as they can, I (as the arranger) have done just that!

Want to add instruments, but you don’t have a full rhythm section? Don’t worry! You can easily enhance your performance by punctuating different musical sections with simple common instruments. Add some acoustic guitar strumming on the chorus and fingerpicking the verses. Rhythm is easy to enhance, even without a drumset player. Consider a shaker on the verses, and a cajón (or even a covered snare with some brushes) on the chorus. More often than not, some light percussion is just enough to make your performance pop!

Broaden your definition of pop

The pop choral genre is a diverse set of styles, time periods, and subjects. If you’re coming from the concert choir world, there is plenty of music to bridge the gap. Don’t feel limited to the latest Top 40 hits; there’s so much more! Consider songs that have been used in popular media, but don’t necessarily sound “poppy.” For instance, a title like “My Love Is Always Here” will appeal to fans of the Harry Potter series, but still offers an elegant traditional flare.

Titles that have history in the pop world but are arranged in a traditional style often appeal to chamber ensembles. Consider a traditional title like “Tipitin” by María Grever, which has been covered by pop groups such as the Andrews Sisters.

Don’t over do it

Pop music doesn’t have to be difficult to be good! As a matter of fact, a well-crafted 2-part arrangement like “What a Wonderful World” or “It’s All Right” will allow groups of any age to shine. Especially as we return from remote learning, devoting care and attention to a simple piece is a better option than stretching your choir too thin with a difficult one.

Embrace the opportunity

Pop music is a great tool for recruiting new members, engaging your singers, inspiring your audience, and energizing your program. It can be an opportunity to develop traditional ensemble skills, and even lead students to discover other styles of choral music. With creativity and care, pop music can be a sweet spot in your choral repertoire!