I've Gotta Be Me: 2nd Trombone: Choral SoundPax

This chart captures what makes the original so durable: a soaring melody that sits perfectly for mixed voices and an arrangement that respects the song's emotional core while delivering real textural variety. The shift from 6/8 into a hot, energetic ending gives your singers something dynamic to sink their teeth into, and the recorded accompaniment means you can rehearse confidently whether you're working with a full ensemble or a smaller group.

The opening moves with a fluid, unhurried quality in 6/8, allowing the melody room to breathe and the lyric to land clearly. When the chart shifts into the hot, swinging ending, the energy becomes infectious and the texture tightens, creating a satisfying arc from introspection to celebration.

Choirs working at intermediate to advanced levels who want a piece with genuine popular appeal and real musical substance. The SoundPax format makes this work for groups of varying sizes, and the recorded accompaniment removes barriers for programs with limited accompanist availability.

• Honor the lyrical quality of the opening 6/8 section by keeping voices unified in tone; this isn't a place for overly bright articulation, but rather a warm, cohesive blend.
• Mark the transition into the swinging ending clearly in rehearsal so singers understand the rhythmic shift and can lock in confidently.
• Use the recorded accompaniment during rehearsals to establish the groove, but plan at least some runs with live piano or instrumental support so singers aren't dependent on the recording in performance.
• Balance the accessibility of the melody against the emotional maturity of the text; Marks' writing rewards singers who find both the confidence and vulnerability in the line.

This works beautifully as a concert closer or second-to-last selection, particularly in a program featuring other popular music or musical theater repertoire. Its accessibility and proven appeal make it an excellent choice for spring concerts or community performances where you want work that connects immediately with your audience.

• Singing in compound meter (6/8 time)
• Transitioning between contrasting rhythmic feels (6/8 to swing rhythm)
• Balancing emotional expressiveness with textural cohesion
• Following an arrangement that uses textural layering and voicing changes