Uptown Funkytown: 1st Synthesizer Sheet Music Preview

Uptown Funkytown: 1st Synthesizer

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-PC-0019751_SYN1

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Description
What happens when "Uptown Funk" takes a turn into "Funkytown?" Buckle up for a three-minute mashup that blends pop swagger with disco energy. Both songs are introduced on their own---with playful hints of the other---before kicking into high gear when they join forces. This full-throttle, funk-fueled joyride features bright choral harmonies and hip syncopated rhythms, supported by a thumping bassline. Add hot horn and rhythm parts for a pedal-to-the-metal performance!

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Additional Details
Series: Alfred Pop Choral Series
SKU: 00-PC-0019751_SYN1

More about this title

About the Composer: Philip Lawrence

Philip Lawrence is a songwriter and producer who has shaped the sound of contemporary pop music through his work with major artists and collaborative projects. His ability to craft infectious melodies and memorable hooks has made him a sought-after voice in commercial music production.

Why we love this

This mashup captures the pure joy of blending two undeniable earworms into a single, high-energy package that singers and audiences genuinely want to perform. The arrangement respects both source songs while creating something entirely its own, with harmonic sophistication that elevates what could have been a gimmick into genuinely fun choral writing.

What to expect

This is pure kinetic energy wrapped in choral voices. The writing pulses with funk grooves and disco shimmer, bouncing between playful nods to each song's identity before crashing together in a celebration of syncopation and swagger. Performers and audiences alike should feel the momentum building from the moment those first bass notes drop.

Who it's for

Choirs with solid rhythmic confidence and singers who embrace contemporary pop idioms will thrive with this arrangement. It works equally well for show choirs, concert choirs seeking audience engagement, or educational settings where singers need permission to have unironic fun.

How to get the most out of it

  • Lock the rhythmic precision in the syncopated passages by having the choir tap out the syncopation during rehearsal before singing; the accuracy of these hits is what makes the funk aesthetic work.
  • Bring the bassline forward in your mix during rehearsals so singers can lock into the groove; a strong foundation makes the choral harmonies sit on top confidently rather than floating above the rhythm.
  • Shape the two song introductions with distinct character. Let "Uptown Funk" feel sleek and controlled, then shift the energy when "Funkytown" enters with looser, more playful articulation.
  • If you're adding the optional horn and rhythm parts, begin integrating them early so the choir learns to sing their harmonies against the full arrangement rather than adjusting after the fact.

How to use it

Program this as your concert closer or high-energy second-half opener to reset the room's energy. It pairs naturally with other contemporary pop arrangements while standing apart from traditional choral repertoire, making it ideal for mixed-season programming that balances classical works with modern sensibility.

Skills your students will build

  • Syncopated rhythm reading in pop idioms
  • Funk and disco articulation and phrasing
  • Singing tight harmonic voicings against a strong rhythmic groove
  • Blending choral texture with contemporary pop production sensibilities

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