Get Up, Get Down, Get Funky, Get Loose: SSA Choral Octavo
Words and music by Kenny Gamble and Leon Huff / arr. Eric Van Cleave
Item: 00-PO-0005882
Minimum order quantity: 20 copies
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Description
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More about this title
About the Composer: Kenny Gamble
Kenny Gamble was a pioneering soul and R&B producer and songwriter who shaped the Philadelphia sound of the 1970s. Working alongside Leon Huff, Gamble co-founded Philadelphia International Records and wrote and produced some of the era's most enduring hits, including work with O'Jays, Teddy Pendergrass, and Harold Melvin and the Blue Notes. His production style blended lush orchestrations with tight rhythm sections and memorable melodies that defined an entire decade of popular music.
Gamble's songwriting crafted songs built on infectious grooves and accessible hooks that became standards at celebrations and parties. His influence on contemporary pop and R&B production remains significant, and his catalog continues to resonate in choral and popular music contexts where the sophistication of his arrangements meets genuine crowd-pleasing energy.
Why we love this
This is the kind of octavo that justifies keeping your choral program lighthearted and grounded in real popular music. Eric Van Cleave's arrangement captures the buoyant spirit of the original without oversimplifying the harmonic movement, and the SSA voicing sits well for most ensemble sizes. Your singers will actually want to rehearse this one, and the optional instrumental accompaniment (either recorded or live band parts) transforms it from a novelty into a genuinely sophisticated performance piece.
What to expect
Warm, infectious, and propulsive. The arrangement breathes with the kind of soulful ease that made the original a party staple, complete with funky bass lines and call-and-response moments that invite singers to lean into the rhythmic pocket. This is music designed to make your ensemble and your audience smile.
Who it's for
Any treble or mixed choir looking to program something with genuine popular appeal that doesn't feel compromised musically. This octavo works especially well for groups comfortable with contemporary grooves and not afraid to commit to a performance with personality and style.
How to get the most out of it
- Establish a clear, laid-back pulse in the rhythm section or recorded track before introducing vocal lines; this groove-based song lives and dies on ensemble lock with the accompaniment.
- Balance the harmonic layers so the bass line remains audible even in full ensemble moments; many arrangers bury important countermelody in the middle voices, but Van Cleave's scoring rewards careful listening.
- Let dynamics shape the arrangement's story rather than treating it as a constant party; the contrast between sparse and full textures will keep the performance from sounding one-dimensional.
- Address diction clarity in syncopated passages; the rhythmic complexity can tempt singers to blur through syllables, so mark stress points in rehearsal and keep articulation crisp.
How to use it
Program this as a high-energy concert closer or as part of a set exploring American popular music and soul. It pairs beautifully with other '70s-inflected pop arrangements or as a standalone statement about broadening your repertoire beyond traditional choral literature. The optional instrumental parts open possibilities for combining singers with live band, making it ideal for end-of-year celebrations or spring concerts where engagement matters as much as artistry.
Skills your students will build
- Groove awareness and rhythmic precision in syncopated contexts
- Singing in contemporary popular music idiom with authentic phrasing
- Balancing harmonic independence within a cohesive ensemble sound
- Ensemble lock with recorded or live accompaniment
- Understanding soul and R&B vocal traditions and their application to choral writing