Let Me Be There: Choral SoundPax
Words and music by John Rostill / arr. Jay Althouse
Item: 00-PK-0001339
$30.00
One moment…
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Description
This Olivia Newton-John hit from the '70s translates perfectly as a gospel-edged pop piece for today's choirs. There's a little hint of Elvis, too. Well-crafted choral writing combines with rhythmic drive to make your group come alive. There's a brief hand clapping a cappella section as the piece builds toward the big finish. Includes parts for alto sax., tenor sax., trumpet, trombone, and rhythm.
Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Let Me Be There: Choral SoundPax comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.
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Additional Details
Series:
Alfred Pop Choral Series
Publisher:
Alfred Music
Page Count:
28
SKU:
00-PK-0001339
Instrumentation:
SoundPax
More about this title
About the Composer: John Rostill
John Rostill was a British songwriter and producer who became a cornerstone of 1970s pop music. His gift for crafting memorable melodies and hooks made him a prolific hitmaker, with credits spanning rock, pop, and crossover material that defined the era.
Why we love this
Jay Althouse's arrangement captures the infectious warmth of the original while giving your choir real rhythmic energy and a showcase moment with the a cappella hand clapping section. The instrumental writing is practical and rewarding; woodwinds and brass players get engaging parts that sit comfortably without overshadowing the voices.
What to expect
Warm, rhythmically alive, and genuinely joyful. The gospel-inflected harmonies and the touch of retro Elvis flavor create an inviting sound that feels both nostalgic and immediate, especially during that moment when the hand clapping takes over and the piece strips back to something intimate before swelling again.
Who it's for
This is ideal for mixed choirs that want contemporary repertoire with real harmonic substance and programming appeal. The piece works beautifully in a pop or musical theatre concert and connects with audiences who remember the original or simply respond to well-crafted groove-based writing.
How to get the most out of it
- Lock the rhythm section (drums and bass) tightly with your vocal soloists during the verses so the groove stays grounded when the ensemble enters.
- Rehearse the hand clapping section separately first, isolating it from the singing to ensure clean articulation and tight rhythmic unison before layering both together.
- Balance the saxophone parts carefully in the fuller sections; they should enhance the gospel-pop color without masking the choral blend.
- Shape the build toward the final chorus with gradual dynamic growth and instrumental layering so the ending lands with full impact.
How to use it
Program this as a high-energy mid-set moment or as your closer if you want to end on an uplifting, swinging note. The piece's blend of accessibility and musical depth makes it an excellent bridge between traditional choral fare and contemporary pop selections.
Skills your students will build
- Gospel-influenced harmonic voicing and voice independence in pop textures
- Rhythmic precision and groove awareness in ensemble singing
- Hand percussion technique and rhythmic clarity in a cappella contexts
- Balancing vocal blend with live instrumental accompaniment
- Dynamic control and building intensity through layered arrangement