Ain't Got Far to Go: SAB/3-Part Mixed, a cappella

Name: Ain't Got Far to Go: SAB/3-Part Mixed, a cappella
Brand: Alfred Music
SKU: 00-47884
Price: 2.25 USD
Availability: InStock

Words and music by Andrew "Knox" Brown, Jessica Glynne, Finlay Smith, and Janee Bennett / arr. Bryan Sharpe

Item: 00-47884

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Arranged expressly for developing a cappella pop groups! Best known as the featured singer on Clean Bandit's “Rather Be,” up-and-coming UK music star Jess Glynne recorded this upbeat tune with an undeniably positive message. Presented here in a perky pop style, this arrangement features a great solo, rhythmic vocables for the group to sing, and fully notated vocal percussion.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Ain't Got Far to Go: SAB/3-Part Mixed, a cappella comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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Series: Alfred Pop Choral Series

Publisher: Alfred Music

Page Count: 16

UPC: 038081548579

SKU: 00-47884

More about this title

Why we love this

Bryan Sharpe's arrangement captures the infectious energy of the original while building in real pedagogical value for developing groups. The rhythmic vocables and notated vocal percussion give ensemble singers concrete rhythmic material to anchor the sound, and the featured solo provides a natural showcase for a confident performer without demanding extended range.

What to expect

Upbeat and infectious, with an optimistic energy that drives straight from the opening. The rhythmic vocables and notated percussion create a modern, groove-oriented sound that feels current and engaging without overshadowing the song's genuinely positive message.

Who it's for

This piece works for developing middle and high school a cappella ensembles, pop choral groups, and contemporary vocal programs seeking accessible yet stylish material. Singers need comfortable blend and enough rhythmic independence to handle ostinatos, but no advanced vocal technique is required.

How to get the most out of it

Establish the rhythmic vocables early in rehearsal as a foundation layer. Lock these patterns before layering in the melody, treating them like a rhythm section that drives the groove.
Balance the solo against the group throughout. The solo should sit comfortably over the supporting voices without requiring either the soloist or ensemble to push beyond a natural mix.
Keep the tempo energetic but sustainable. This arrangement rewards clarity and precision over speed; a slightly slower tempo that allows clean articulation of the rhythmic elements will feel snappier than a rushed one.
Pay attention to the marked dynamics in the vocal percussion line. These details create lift and shape the arrangement's momentum.

How to use it

Program this as a fun opener or second piece on a concert to establish energy and audience connection early. It pairs well alongside other contemporary pop arrangements or as a contrast piece between art song or classical work and lighter fare, showing the range of your ensemble's stylistic vocabulary.