Somewhere Only We Know (arr. Mark De-Lisser) Sheet Music Preview

Somewhere Only We Know (arr. Mark De-Lisser): SAT Choral Octavo

By Tom Chaplin / By Richard Hughes / By Tim Rice-Oxley / As performed by Lily Allen / As performed by Keane / Arranged by Mark De-Lisser

Item: 35-DS00333540

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Publisher: Hal Leonard
Page Count: 6
SKU: 35-DS00333540

More about this title

About the Composer: Tom Chaplin

Tom Chaplin is the lead vocalist and primary songwriter for Keane, the British alternative rock band that emerged in the early 2000s. His songwriting combines introspective lyricism with accessible melodic sensibilities, creating work that resonates across both commercial and artistic contexts. As a composer and performer, Chaplin has demonstrated a gift for crafting songs that balance emotional depth with musical immediacy, making his material particularly effective for choral adaptation.

Why we love this

Mark De-Lisser's arrangement transforms a contemporary pop hit into genuine choral material without sacrificing what makes the song compelling. The SAT voicing opens this piece to mixed ensembles that might otherwise skip contemporary repertoire, and the accessible harmonic language keeps singers engaged rather than buried in technical complexity.

What to expect

Yearning and intimate, with the kind of wistful melody that sticks in listeners' heads long after the performance ends. The harmonic language sits comfortably between pop accessibility and choral sophistication, creating a sound that feels both modern and timeless.

Who it's for

Choirs seeking contemporary material that broadens ensemble appeal while maintaining musical substance. This works equally well for high school mixed groups, community choirs, and show choir programs looking to supplement their pop library with something genuinely singable.

How to get the most out of it

  • Anchor the piece in the song's original emotional landscape rather than treating it as a pure exercise. The text deserves singers who understand what they're expressing.
  • Balance the upper voices carefully in sus chords and seventh harmony; these sonorities only land if intonation is precise rather than approximated.
  • Use the original recording strategically during rehearsal to establish the groove and phrasing idiom, then wean singers away from it so they own the interpretation.

How to use it

Position this as a bridge between traditional choral repertoire and contemporary music, either as a standalone feature or paired with other Keane arrangements. It works particularly well in spring concerts where lighter programming balances heavier classical work, and the emotional authenticity makes it an excellent choice for audience engagement pieces.

Skills your students will build

  • Singing in contemporary harmonic language (sus chords, seventh harmonies, modal inflections)
  • Maintaining lyrical phrasing within pop song structure
  • Blending voices across SAT voicing while preserving individual line clarity
  • Stylistic interpretation of contemporary material with authentic expression

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