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Drive: SATB A Cappella Choral Octavo

As performed by Brandon Boyd / As performed by Alex Katunich / As performed by Chris Kilmore / As performed by Michael Einziger / As performed by Robert Dietz / As performed by Anne Raugh2.25 / As performed by Jose Pasilla II / Arranged by Deke Sharon

Item: 35-DS00297558

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Additional Details
Publisher: Hal Leonard
Page Count: 23
SKU: 35-DS00297558

More about this title

About the Artist: Brandon Boyd

Brandon Boyd is the lead vocalist of Incubus, the alternative rock band that emerged from Southern California in the 1990s. His distinctive vocal approach blends melody with rhythmic precision, and his songwriting has consistently explored themes of introspection and human connection across multiple decades of recording.

Why we love this

Deke Sharon's arrangement captures the melodic accessibility and modern sensibility of this song while building in the harmonic complexity that keeps skilled singers engaged. The 23-page score gives you room to develop nuance in phrasing and blend without requiring instrumental support, making it ideal for choirs ready to showcase their vocal confidence.

What to expect

The piece pulses with forward momentum and introspective energy. You'll encounter moments of lush harmonic richness balanced against sparse, almost vulnerable passages where individual voices carry the story.

Who it's for

This arrangement works for SATB choirs with solid vocal training and comfort with contemporary harmonic language. It suits groups performing pop or rock concerts, collegiate a cappella ensembles, or choirs looking to program modern music alongside more traditional repertoire.

How to get the most out of it

  • Balance the arrangement so the lead melodic line floats naturally above the supporting voices; resist over-projecting any single part at the expense of cohesion.
  • Pay close attention to the vowel shaping across all four parts, since stylistic unity becomes even more important without instrumental color to mask inconsistencies.
  • Work the rhythmic precision early in rehearsal, establishing clear attacks and releases that feel contemporary rather than classical.
  • Explore how silence functions in the piece; the absence of sound can be as expressive as the singing itself.

How to use it

Include this in a contemporary or pop concert set where you want to showcase your ensemble's stylistic range and ability to execute modern arranging. It also serves as an excellent choice for demonstrating musicianship to audiences who connect with songs from outside the classical canon.

Skills your students will build

  • Balancing melody and harmony in contemporary arrangements
  • Maintaining rhythmic precision without instrumental reference
  • Managing vowel consistency across a cappella voicings
  • Interpreting modern stylistic articulation and phrasing
  • Building harmonic awareness in non-traditional contexts

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