Lead The Way (from Disney's Raya And The Last Dragon) (arr. Roger Emerson): SATB Choral Octavo

Roger Emerson's arrangement captures the song's intimate yet anthemic quality, giving each voice part meaningful musical material rather than relegating anyone to harmonic filler. The piece works equally well as a concert opener that commands attention or as a feature that lets your strongest singers shine while keeping ensemble cohesion intact.

Propulsive yet contained. The arrangement builds momentum without sacrificing intimacy, creating moments where the four parts move in synchrony and others where each voice part gets its own expressive space. There's warmth in the harmony and forward motion in the rhythm.

Choirs at the intermediate level and above who want contemporary repertoire with substance and emotional depth. Directors programming concert sets that need a bridge between traditional choral works and modern pop, or those specifically seeking repertoire by and for diverse artists.

• Balance the melody line carefully in the soprano part; this song relies on listeners hearing the story unfold, so clarity matters more than volume.
• Pay attention to the text's emotional arc. The arrangement will sound thin and generic if you treat it as purely a technical exercise rather than a song about finding courage.
• Work the rhythm section (altos and basses) as a unit. Their foundation needs to be rock solid and consistent so the sopranos and tenors can shape the melody with flexibility.
• Record a rehearsal early and listen back as an ensemble. Hearing yourselves helps singers recognize where blend is breaking down and where the arrangement's strengths are being obscured.

This works beautifully as a concert anchor piece, strong enough to carry a full program but conversational enough that it doesn't demand an intermission after it. Pair it with either traditional standards to show range or with other contemporary pieces to create a thematic set about resilience and determination.

• Sustaining emotional intention across a full arrangement without over-singing or under-singing
• Balancing melody and accompaniment in pop-adjacent harmonic contexts
• Interpreting rhythmic flexibility within a metered framework
• Blending within parts while maintaining individual voice quality and line shape