I've Gotta Be Me: SAB Choral Octavo

This arrangement captures why "I've Gotta Be Me" has endured through countless interpretations. Larry Shackley's SAB setting honors the song's infectious spirit while keeping the vocal ranges accessible, and that swing-into-hot-ending arc gives your singers a real payoff to work toward. It's a crowd-pleaser that doesn't ask your ensemble to sound like professional belters.

Warm, affirmative, and ultimately joyful. The opening 6/8 frame has an easy elegance that then transforms into something funkier and more energized, giving the piece dynamic shape and keeping listeners engaged. There's a celebratory quality beneath the song's core message of self-acceptance.

Choirs performing at concerts, festivals, or competitions who want a contemporary piece with genuine entertainment value and a strong message. This works equally well for show choirs looking to add a soulful standard to their setlist and traditional SAB ensembles seeking modern repertoire with roots in popular culture.

• Balance the 6/8 introduction carefully so it doesn't feel sluggish; the lilting character relies on forward motion even at modest tempos.
• The swing section demands tighter rhythmic precision from your ensemble, especially in the rhythm section; lock the groove early in rehearsal so singers can relax into the pocket.
• Shape the text "I've gotta be me" with conviction at every iteration. This is the emotional core, and singers should feel the assertion, not just sing the notes.
• If using the recorded accompaniment, rehearse without it first so your singers own the harmonic foundation before layering it in.

Open a concert with this to establish an uplifting tone, or use it as a midprogram palate cleanser between heavier classical or spiritual selections. Its familiarity to audiences (especially younger listeners who know the Glee version) makes it an excellent bridge between your ensemble's formal repertoire and contemporary musical culture.

• Singing in 6/8 with consistent rhythmic flow
• Transitioning between ballad and swing feels within a single piece
• Blending in three-part harmony with attention to diction clarity
• Working with recorded accompaniments in a contemporary pop style
• Interpreting lyrical meaning with emotional authenticity