Get Ready (from Ain't Too Proud) (arr. Roger Emerson): SSA Choral Octavo

Roger Emerson's SSA voicing captures the groove and energy of this Temptations classic while remaining accessible to younger or less experienced ensembles. The arrangement preserves the iconic funk feel without sacrificing singability, making it a rare find that excites singers while teaching them how to anchor a rhythm section with their voices.

Funky, propulsive, and impossible to sit still through. The arrangement channels the Motown sensibility of tight grooves and vocal interplay, inviting singers to feel the music as much as perform it. Energy radiates from the rhythmic precision and the conversational way the parts interact.

Choirs preparing pop or rock repertoire for concert programming, pep rallies, or community events will find this arrangement both engaging and teachable. It works particularly well for middle school through early high school ensembles seeking material that bridges the gap between classical discipline and contemporary styles.

• Lock the rhythmic precision of the opening entrance. This piece lives in its pocket; even slight hesitations will pull the feel out of shape.
• Distinguish between the supporting voices and the melody line through dynamic shaping rather than volume alone. The accompaniment parts should breathe as a unit beneath the lead.
• Emphasize the articulation changes between sections. Smooth legato lines contrast sharply with the syncopated rhythmic passages; make these transitions deliberate.
• Lean into the percussion-like quality of staccato passages. The girls should feel like they're playing an instrument alongside any accompaniment, not just singing sustained tones.

Pair this with other Motown or soul standards to create a concert set that showcases a specific era and musical tradition. It also serves as an excellent opener or closer due to its immediate recognizability and high-engagement factor. Consider programming it when you want to demonstrate to audiences what your ensemble can do with contemporary material.

• Rhythmic precision in syncopated contexts
• Balancing melody and accompaniment lines
• Vocal production in contemporary styles
• Part independence and sectional stability
• Understanding of groove and pocket singing
• Contrasting articulation and phrasing across sections