I Just Might: TTB Choral Octavo

Alan Billingsley's arrangement channels the infectious funk energy of the original into a TTB voicing that sits naturally for most ensembles. The rhythm section drives the piece forward with irresistible momentum, and the arrangement balances modern pop sensibility with genuine vocal writing that lets each part shine. This is a song that makes singers want to move and audiences lean forward.

From the first downbeat, the groove is undeniable. The retro-modern production of the original translates into an arrangement that feels both polished and playful, with that signature Bruno Mars swagger built into every phrase. When performed well, it radiates confidence and infectious energy that pulls the audience in.

TTB ensembles at the high school and early college level who want contemporary repertoire with real rhythmic and harmonic substance. This works equally well for show choirs seeking a crowd-pleasing solo or concert choirs looking to expand beyond traditional pop arrangements. Singers should be comfortable with syncopated rhythms and the physicality required to perform funk-driven material.

• Lock the rhythm section early in rehearsal. The tight bassline and rhythmic precision are what make this arrangement sizzle; spend time isolating the bass part and grounding the other voices against it before adding choreography or stagecraft.
• Shape the phrasing around the lyrical sense, not just the melodic contour. The suave, confident delivery of the original should come through in your ensemble's interpretation, not disappear behind overly rhythmic precision.
• Balance the lead vocal line (likely on tenor) against the supporting parts. Billingsley's writing distributes the melody strategically; make sure accompaniment voices know they're serving the narrative, not competing for attention.
• Take full advantage of the recorded accompaniment to lock in the groove. Once your ensemble is secure, performing with the track amplifies the funk-driven energy and frees singers to focus on delivery and movement.

Program this as an opener or closer on a concert where you want immediate engagement and momentum. It works brilliantly on a show choir set or as a palate-cleansing contrast to more traditional choral fare. The rhythmic vitality and contemporary appeal make it an excellent choice for pops concerts, spring concerts, or any program aimed at bringing new listeners into the concert hall.

• Rhythmic precision in syncopated pop idioms
• Locked ensemble groove and rhythmic unison
• Balancing lead and supporting vocal lines in contemporary voicings
• Performing with confidence in funk and R&B-influenced styles
• Integration of physical performance with vocal precision