Uptown Funk (feat. Bruno Mars) (arr. Mark Brymer): SATB Choral Octavo

Brymer's arrangement captures the kinetic groove of the original while building manageable vocal lines that sit comfortably across four parts. Your students get to perform a song they actually know and love, which transforms rehearsal energy and audience engagement in ways that justify the extra attention to rhythmic precision.

Infectious and tight. The funk foundation means every rhythmic articulation matters, so the ensemble feels focused and energized rather than loose. When performed well, the song radiates the confidence and swagger of the original while maintaining the joy of singing together.

Any SATB choir looking to program contemporary pop with real groove. This works equally well for high school show choirs, community ensembles, and college a cappella groups seeking a high-energy closer or feature number.

• Lock the rhythmic pocket early. Have your rhythm section (bass and drums, live or backing track) establish the groove in isolated rehearsals before adding voices; once the pulse is solid, other parts fall into place naturally.
• Shape dynamics by section, not just by individual phrases. The verses should sit lower and tighter; the chorus opens up. This contrast makes the arrangement's arc clear without requiring drastic tempo changes.
• Anchor the alto and tenor lines during the rap-influenced passages. These middle parts carry rhythmic counterpoint that can muddy if singers aren't locked on exact subdivision.
• Push the final chorus into a sparser texture if your arrangement allows it. Pulling back one voice part for the penultimate statement builds more impact for the final repeat.

Place this late in a concert to capitalize on audience familiarity and to give your singers a moment of ownership over material that matters to them. It pairs naturally with other contemporary pop or R&B arrangements, or it can stand alone as a powerful statement of what your choir can execute with modern repertoire.

• Funk rhythm and groove phrasing
• Syncopated rhythmic reading across all four parts
• Maintaining articulation clarity at faster tempos
• Voice independence in homophonic passages
• Dynamic shaping and phrase architecture in pop-influenced music