Uptown Funkytown: TTB Choral Octavo
Words and music by Philip Lawrence, Bruno Mars, Devon Gallaspy, Lonnie Simmons, Nicholaus Williams, Ronnie Wilson, Mark Ronson, Rudolph Taylor, Jeff Bhasker, Robert E. Wilson, Charles K. Wilson, Steve Greenberg / arr. Jack Zaino
Item: 00-PO-0007909
Minimum order quantity: 20 copies
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Description
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More about this title
About the Composer: Philip Lawrence
Philip Lawrence is a songwriter and producer who has shaped contemporary pop music through his work with major recording artists. His career spans songwriting, vocal production, and arrangement across multiple genres, bringing a strong sense of melody and rhythmic sophistication to everything he touches.
Why we love this
This mashup cuts through the usual pop choral repertoire by honoring both source songs while creating something genuinely new. The arrangement respects the funk and disco idioms without sanitizing them, and the scaffolded structure (introducing each song separately, then merging them) gives directors a natural teaching roadmap and builds audience engagement.
What to expect
Pure kinetic energy. The piece sparkles with pop swagger in its opening moments, then pivots into disco shimmer before the two worlds collide in a syncopated explosion. It's joyful, groove-driven, and impossible to sit still for.
Who it's for
TTB choirs looking for contemporary repertoire that energizes rehearsals and audiences alike. This works for groups with intermediate to strong musicianship who can handle syncopated rhythms and can commit to the funk aesthetic without irony.
How to get the most out of it
- Lock the rhythmic precision early. The syncopated rhythms and thumping bassline demand tight ensemble work; rehearse these elements with the rhythm section and horns before layering in full voicing.
- Highlight the textural shift when both songs converge. The energy surge at the merger point should feel like stepping on the accelerator; make sure your sopranos and tenors drive the intensity while lower voices anchor the groove.
- Balance brightness with funk groove. The choral harmonies should pop, but not at the expense of swing; remind singers to sit into the rhythm rather than rushing ahead.
- Use the recorded accompaniment to establish tempo and pocket. Reference it often during early rehearsals to internalize the groove before performing live with horns and rhythm.
How to use it
Slot this into a spring or end-of-year concert as a show-closer or second-half opener. It pairs well alongside other contemporary pop arrangements and lifts the energy in any program that risks sagging. The optional horn and rhythm parts elevate it to a full production moment without requiring professional musicians.
Skills your students will build
- Syncopated rhythm reading and execution in pop contexts
- Maintaining groove and ensemble cohesion across tempo-stable passages
- Blend and balance in three-part harmony with functional bass lines
- Style awareness and interpretation of funk and disco idioms
- Coordination with rhythm section and horn parts in a pop ensemble setting