Permission to Dance: SSA, a cappella Choral Octavo
Recorded by BTS
Words and music by Steve Mac, Jenna Andrews, Ed Sheeran, and John McDaid / arr. Bryan Sharpe
Item: 00-PO-0006954
$2.35
Minimum order quantity: 20 copies
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Description
Trying to get that contemporary a cappella sound with a developing ensemble? Here's an accessible arrangement with just three voice parts, a soloist (or small group), and some poppy vocal percussion. Smaller and younger groups will LOVE this smart setting of the good-time dance hit by BTS. Conservative vocal ranges, detailed articulation and phrasing, plus clearly notated beatboxing, do most of the work for you, so you can get straight to the fun---no permission required!
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Additional Details
Series:
Alfred Pop Choral Series
Publisher:
Alfred Music
Page Count:
10
SKU:
00-PO-0006954
More about this title
About the Composer: Steve Mac
Steve Mac is a British songwriter and producer whose work spans pop, hip-hop, and R&B across multiple decades. He co-wrote "Permission to Dance" alongside Jenna Andrews, Ed Sheeran, and John McDaid, contributing to one of the most infectious contemporary pop anthems. His knack for crafting songs with universal appeal and rhythmic energy makes his work ideal for choral adaptation.
Why we love this
Bryan Sharpe's arrangement captures the infectious spirit of the original without demanding advanced vocal technique. The conservative ranges and clearly notated beatboxing mean your ensemble can focus on nailing the groove and character rather than struggling with unfamiliar tessituras or interpretation questions. For developing groups hungry for contemporary repertoire that actually sounds current, this delivers.
What to expect
Upbeat and danceable, with the kind of modern pop energy that makes audiences smile immediately. The a cappella setting keeps the focus on voices and groove, creating an intimate yet infectious performance that feels current and relatable.
Who it's for
SSA ensembles with developing singers who want to perform contemporary material without technical barriers. This works beautifully for middle school through early high school choirs, smaller groups, or any ensemble looking to add accessible pop repertoire to their toolkit.
How to get the most out of it
- Nail the rhythmic precision of the beatboxing notation. Treat those vocal percussion lines as the rhythmic anchor of the piece; lock them in early and your soloists will float more naturally over the top.
- Shape the opening unison section with clear articulation and dynamics before layering in the harmony. This builds momentum and gives the ensemble a secure foundation.
- Lean into the energy of the song without oversinging. Pop phrasing often calls for restraint and pocket rather than projection; encourage your singers to think conversational.
How to use it
Program this as an opener or encore on a concert mixing classic choral repertoire with contemporary selections. Its high energy and broad appeal make it ideal for pops concerts, spring concerts, or festival performances where you want to showcase your ensemble's range and reach younger audience members.
Skills your students will build
- Rhythmic independence and vocal percussion ensemble skills
- Contemporary pop phrasing and articulation
- Balancing solo and ensemble textures
- Intonation and blend in three-part harmony
- Reading and executing rhythmically complex notation