Let Yourself Go (arr. David Wright) Sheet Music Preview

Let Yourself Go (arr. David Wright): TTBB Choral Octavo

By Irving Berlin / As performed by Crossroads / Arranged by David Wright

Item: 35-DS00462127

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Additional Details
Publisher: Hal Leonard
Page Count: 7
SKU: 35-DS00462127

More about this title

About the Composer: Irving Berlin

Irving Berlin (1888–1989) was an American composer and lyricist whose output shaped popular song for nearly a century. Born in Russia and immigrating to the United States as a child, Berlin became one of the most prolific and successful songwriters in American history, crafting melodies that defined the Great American Songbook.

Berlin's gifts lay in accessibility and craft. His songs feel effortless but were meticulously constructed, designed to lodge in memory after a single hearing. For choral directors, his work offers melodic clarity, singable ranges, and lyrics that communicate directly without pretension. Let Yourself Go exemplifies this approach: a tune that invites singers to embrace joy and audiences to feel it.

Why we love this

David Wright's arrangement unlocks the swinging energy of this Berlin standard for men's voices without sacrificing the tune's infectious lightness. The voicing sits naturally across TTBB configurations, making it accessible for groups with varied experience while maintaining harmonic sophistication. What makes this stand out is how the arrangement lets the lyric do its work: the title phrase itself becomes a musical release, inviting audiences into genuine warmth rather than manufactured charm.

What to expect

Buoyant and unselfconscious. The song exudes the confidence of someone who has decided to stop worrying and simply enjoy themselves, and that permission extends to singers and listeners alike. There's a breeziness here, but it's earned through genuine melodic appeal rather than forced cheerfulness.

Who it's for

Men's choirs at the secondary and community levels looking for repertoire that balances accessibility with musical substance. Groups comfortable with swing-inflected diction and seeking concert pieces that audiences actually enjoy hearing will find this both practical and rewarding to prepare.

How to get the most out of it

  • Lean into the rhythmic lift of the accompaniment (even in a cappella contexts, singers should feel the implied swing). The tune wants to bounce; let it.
  • Balance clarity of diction with legit vocal production. These syllables carry the comedy and charm, so articulation matters, but avoid patter-song cliché.
  • Shape phrases toward their lyrical points rather than mechanically hitting dynamic marks. The emotional arch of each section will guide your dynamic shape.
  • Support younger singers through the middle section where ranges may shift. Ensure the second tenors and baritones feel secure before layering interpretation on top.

How to use it

Position this in a concert's middle section, where it provides tonal and emotional contrast to heavier pieces while maintaining momentum. Pair it with other American songbook standards or lighter contemporary work to build a sequence that feels cohesive without becoming monotonous.

Skills your students will build

  • Swing rhythm and syncopation (executing and interpreting)
  • Blend and balance across four-part voicing
  • Diction clarity in uptempo material
  • Musical phrasing in songs with lyrical narrative
  • Confidence in a cappella singing

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