I'm A Believer (from Shrek) (arr. Mark Brymer): SAB Choral Octavo

Mark Brymer's arrangement captures the infectious optimism of the original without losing the song's rock sensibility in the choral setting. The SAB voicing sits comfortably across a mixed ensemble while maintaining the energy that made this song a cultural touchstone, and ten pages gives you enough substance to develop real part independence without stretching rehearsal time.

Buoyant and propulsive, with an earnest romantic sweetness underneath the rock edge. The arrangement breathes generously, letting the hooky melody shine while the lower voices create a rhythmic pocket that feels live and immediate. It's the sound of genuine happiness set to a rock groove.

Choirs seeking contemporary material that connects with student musicians and audiences without requiring vocal gymnastics. This works equally well for middle school ensembles discovering pop arranging, high school choirs building confidence with modern material, and community choirs programming accessible crowd pleasers.

• Plant the melody firmly in the sopranos during the first verse so the altos and basses can establish their rhythmic foundation; this makes the inevitable unison moments land with greater impact.
• The rock groove depends on rhythmic precision in the accompaniment. Have your accompanist lock the pulse early in rehearsal, then isolate the rhythm section parts with your ensemble before adding melody lines.
• Embrace the song's conversational tone. This isn't a legit choral ballad; it thrives on forward motion and conversational phrasing. Avoid oversinging the sustained notes.
• Balance the altos carefully when they move into countermelody passages. They should support without overwhelming the soprano line, even when they sit above it momentarily.

Pair this with other film and television music to create a modern media-inspired concert segment, or use it as a confidence builder midway through the season when singers benefit from performing something immediately recognizable and fun. It also provides a natural bridge between show choir material and traditional choral literature, helping students recognize that contemporary pop songwriting deserves the same interpretive attention as classical repertoire.

• Executing rock rhythms and syncopated passages in SAB voicing
• Maintaining independence between melody and rhythmic accompaniment patterns
• Balancing countermelody against a strong primary line
• Applying conversational phrasing and forward motion to contemporary material
• Singing in unison and three-part texture with equal security