One, Two, Three Cover Image

One, Two, Three: 3-Part Mixed Choral Octavo

$1.60 USD
$1.60 USD
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One, Two, Three Cover Image
One, Two, Three: 3-Part Mixed Choral Octavo

One, Two, Three: 3-Part Mixed Choral Octavo

Words and music by John Madara, David White, and Leonard Borisoff / arr. Jeff Funk

Level: Moderate

Item: 00-CHM03013
$1.60
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Description
From the original hit recording of Len Barry to Sarah Vaughn to Ramsey Lewis, and to the movie Mr. Holland's Opus, this '60s hit just keeps coming back. Jeff Funk has captured the original sixties sounds in this new choral setting. It'll be fun for singers and audiences alike.

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Additional Details
Series: Alfred Pop Choral Series
Publisher: Alfred Music
UPC: 654979052340
SKU: 00-CHM03013

More about this title

About the Composer: John Madara

John Madara co-wrote "One, Two, Three" with David White and Leonard Borisoff in 1961. The song became a defining track of the early 1960s, establishing itself as a pop standard that has been recorded and rerecorded across generations and genres. Madara's gift for memorable melody and infectious rhythm made this composition endure far beyond its original release.

Why we love this

Jeff Funk's arrangement captures the irresistible momentum of the original while making it accessible for developing singers. The SAB voicing sits comfortably across three parts without sacrificing the song's signature energy, and the recorded accompaniment keeps the authentic sixties groove intact so singers can focus on locking into the arrangement's groove.

What to expect

Fun and infectious. The song bounces with the optimistic energy of early 1960s pop, driven by a propulsive rhythm and memorable melody that sits naturally in the voices. Performing it captures that joy of a song audiences recognize and want to hear.

Who it's for

This arrangement works for middle school and early high school choirs ready to engage with accessible pop repertoire that still requires ensemble precision. Singers enjoy the modern groove and familiar song structure, making it ideal for concerts that include contemporary music alongside traditional choral works.

How to get the most out of it

  • Emphasize the rhythmic precision in the opening section; the propulsive feel depends on singers staying locked together through the counting-in phrase.
  • Let the soloists shine on verses before the full group enters. The contrast between solo and ensemble makes the return of the full three-part texture land with impact.
  • Keep the tempo steady and energetic throughout. Resist the urge to slow down on sustained notes; the sixties pop sound thrives on forward momentum.
  • Use the recorded accompaniment to establish the groove early in rehearsals so singers absorb the style before focusing on their individual parts.

How to use it

Program this as a crowd-pleasing finale or midsection piece in a concert featuring pop or American songbook selections. The familiarity makes it an excellent bridge between classical and contemporary repertoire, and its moderate difficulty level allows you to include it without sacrificing rehearsal time on more demanding pieces.

Skills your students will build

  • Balancing solo lines with ensemble texture
  • Maintaining rhythmic precision in pop-influenced writing
  • Singing with consistent forward phrasing in uptempo material
  • Blending three-part harmony in close voicings
  • Responding to recorded accompaniments and staying syncopated with grooved rhythms

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