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Drive: TTBB 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-DS00297579

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Additional Details
Publisher: Hal Leonard
Page Count: 23
SKU: 35-DS00297579

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 and built a devoted following through innovative songwriting and dynamic live performance. His distinctive voice and approach to melody have made him a recognizable figure in rock music for nearly three decades. Boyd's work with Incubus demonstrates a commitment to evolving the band's sound while maintaining strong melodic sensibility, qualities that translate effectively to choral arrangement.

Why we love this

Deke Sharon's arrangement captures the propulsive energy of the original while respecting the demands of a cappella singing. The piece gives TTBB ensembles a contemporary rock number with real rhythmic drive, avoiding the trap of overly simplified pop arrangements that leave singers bored.

What to expect

The piece moves with urgency and intention, balancing rhythmic energy with moments of harmonic depth. It demands focus and ensemble awareness while rewarding groups with the satisfaction of executing modern arrangements that actually swing.

Who it's for

TTBB choirs seeking contemporary repertoire that feels current without sacrificing musicality. Directors programming concerts where rock and pop selections can sit alongside more traditional material.

How to get the most out of it

  • Establish the rhythmic pulse as the foundation before layering harmonic parts; this arrangement relies on precision ensemble timing to land its impact.
  • Keep vowel sounds consistent across the section parts, especially in the unison passages, to maximize blend and projection.
  • Treat dynamic transitions as musical events rather than technical changes; they shape the narrative arc of the piece.

How to use it

Program this as a mid-set energizer or closer when you want to showcase your ensemble's ability to handle contemporary idioms. It pairs well in a set that includes other modern secular works or in a concert that bridges classical and pop repertoire.

Skills your students will build

  • Rhythmic precision in rock/contemporary idioms
  • Blend and tuning across four-part voicings
  • Dynamic control and shaping in arranged material
  • Interpretation of contemporary commercial music

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