I Was Here (arr. Alan Billingsley) Sheet Music Preview

I Was Here (arr. Alan Billingsley): SAB Choral Octavo

As performed by Lady A / Arranged by Alan Billingsley

Item: 35-DS00260637

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Additional Details
Publisher: Hal Leonard
Page Count: 9
SKU: 35-DS00260637

More about this title

About the Artist: Lady A

Lady A formed in 2006 as Lady Antebellum, establishing themselves as one of country music's most successful acts with multiple Grammy Awards and platinum albums. The trio's signature blend of country, pop, and soul influences has earned them a broad mainstream audience while maintaining credibility within their genre. Their catalog spans introspective ballads and uplifting anthems, making their work a natural fit for choral arrangements.

Why we love this

Alan Billingsley's arrangement transforms a contemporary pop ballad into a genuinely singable three-part piece without sacrificing the emotional core that makes the original resonate. The SAB voicing keeps ranges accessible while the harmonic support creates that lush, modern sound students want to achieve. Programming a Lady A arrangement bridges the gap between pop repertoire your singers bring to rehearsal and the musicianship you're building.

What to expect

The piece carries the quiet dignity of the original, with moments of warmth and affirmation woven through the harmonic progression. Billingsley's orchestration in the SAB texture allows the message to land clearly while giving singers satisfying parts to execute.

Who it's for

Choirs seeking contemporary material that doesn't condescend to singers or audiences. This arrangement works for concert choirs, community groups, and high school ensembles comfortable with pop styling and wanting to expand beyond traditional choral repertoire.

How to get the most out of it

  • Balance the ensemble carefully during the verses; Billingsley's writing distributes the melody across parts, requiring attentive blending rather than soloistic projection.
  • Shape phrases through vowel consistency across all three voices. The contemporary idiom depends on unified sound color to feel polished.
  • Let the accompaniment track anchor your tempo in early rehearsals, but work toward independence so the singers own the phrasing and can breathe expressively.

How to use it

Include this in a contemporary pop segment within a larger concert to show range and accessibility, or pair it with other uplifting, message-driven pieces for a thematic program. The 9-page length makes it manageable as part of a concert set without dominating rehearsal time.

Skills your students will build

  • Blending three independent melodic lines into unified sonority
  • Sustaining legit tone quality in contemporary pop style
  • Interpreting lyrical content with emotional authenticity rather than theatrical excess
  • Listening across parts to lock harmonic movement

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