I Got You (I Feel Good) Sheet Music Preview

I Got You (I Feel Good): SAB Choral Octavo

As performed by James Brown / As performed by Anne Raugh / Arranged by Deke Sharon

Item: 35-DS00299768

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Additional Details
Publisher: Hal Leonard
Page Count: 5
SKU: 35-DS00299768

More about this title

About the Artist: James Brown

James Brown earned his place as the Godfather of Soul by revolutionizing popular music with his emphasis on rhythm, groove, and live performance energy. His influence extended far beyond R&B into funk, hip-hop, and pop, making him one of the most sampled and referenced artists in contemporary music. For choral directors, Brown's work offers an accessible entry point into teaching rhythm sophistication, ensemble cohesion, and the joy of performing music rooted in African American musical traditions.

Brown's catalog demonstrates how melody, harmony, and funk grooves can coexist in arrangements that challenge singers while remaining deeply enjoyable. His signature sound, built on tight rhythmic unity and celebratory energy, translates well to educational settings where groups need to develop precision and infectious confidence.

Why we love this

Deke Sharon's arrangement captures everything that makes the original so infectious, translating Brown's unmistakable groove into a voicing that works for mixed-voice ensembles without diluting the funk. The SAB texture allows directors to keep this piece accessible while still building rhythmic precision and independence within each section. Your singers will feel the genuine joy of performing something this recognizable and energetic.

What to expect

Pure, unfiltered joy delivered with precision. The arrangement maintains that characteristic Brown swagger, where swagger and technical cleanliness go hand in hand. Singers experience the satisfaction of nailing something people actually want to hear.

Who it's for

Mixed choral ensembles at the high school or early college level who want to perform contemporary music with roots in soul and funk. This works equally well for groups building confidence in rhythm and groove, and for ensembles looking to diversify their concert programming beyond traditional art song or classical repertoire.

How to get the most out of it

  • Lock the rhythmic foundation by isolating the bass line and baritones for several rehearsals; Brown's sound rests entirely on groove consistency, and this section sets the tone for everything else.
  • Record a rehearsal and listen back as a group to identify where ensemble clarity breaks down; the close voicings in an SAB arrangement expose rhythmic drift immediately.
  • Emphasize articulation and dynamic shape rather than volume to capture the original's precision; clarity comes from crisp consonants and intentional phrasing, not from singing louder.

How to use it

Schedule this as a second-half or closing piece on a concert where you want to shift the energy and remind your audience that choral music can be fun and funky. It pairs naturally with other soul, R&B, or pop arrangements and provides a refreshing contrast if programmed after classical or traditional repertoire.

Skills your students will build

  • Rhythmic precision in funk grooves and syncopated figures
  • Maintaining steady tempo while executing complex rhythmic patterns
  • Articulation clarity and diction within fast-moving melodic lines
  • Ensemble rhythmic independence across three voices
  • Stylistic interpretation of soul and funk idioms

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