We're All in This Together: 3-Part Mixed, a cappella Choral Octavo
from High School Musical
Words and music by Matthew Gerrard and Robert Nevil / arr. Bryan Sharpe
Item: 00-PO-0008145
$2.75
Minimum order quantity: 10 copies
Please note: Under U.S. copyright law, you must purchase the exact number of copies needed for your ensemble. Printing, duplicating or sharing additional copies is strictly prohibited.
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Description
Your kids will cheer for this upbeat contemporary a cappella arrangement that sings like a choir pep rally! Built especially for developing groups (yes, even 2-part singers), Bryan's signature style includes opportunities to feature an aspiring beatboxer on the notated vocal percussion, a medium voice singer on the familiar solo, and the full ensemble on stomps and claps at the end. "Wildcats in the house!" From the Disney Channel Original Movie High School Musical.
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Additional Details
Series:
Alfred Pop Choral Series
Publisher:
Alfred Music
Page Count:
16
SKU:
00-PO-0008145
More about this title
About the Composer: Matthew Gerard
Matthew Gerard is a composer and songwriter who has contributed to Disney Channel productions, bringing contemporary pop sensibilities to musical theater and film. His work demonstrates a gift for creating accessible melodies that resonate with younger audiences while maintaining musical substance.
Why we love this
Bryan Sharpe's arrangement strips away nothing essential from the original while building in genuine pedagogical wins. Your developing singers get a legitimate feature moment, your percussionists get to shine with notated beatboxing, and your ensemble finds real joy in the rhythmic payoff at the end. It's concert-ready pop writing, not a novelty.
What to expect
High-energy and celebratory, with the warmth of a live pep rally. The arrangement keeps the infectious pop spirit of the original while grounding it in genuine harmonic movement, creating something that feels both fun and musically substantial.
Who it's for
Developing choirs with mixed voice ranges, including groups that may not yet be ready for full four-part writing. The three-part texture and accessibility of the material make it ideal for middle school or early high school ensembles.
How to get the most out of it
- Balance the solo line with the harmonic backdrop by asking the supporting voices to think 'underneath' rather than 'with.' The featured vocalist needs space to land the lyric.
- Teach the beatboxing independently first. Notated vocal percussion works best when the chosen student owns the rhythm completely before integrating it with the choir.
- Make the stomp and clap section crisp and unified. These moments feel casual, but they land hardest when every singer commits to the same articulation and release point.
- Block the a cappella tuning early and often. Without instrumental support, rhythmic precision becomes your tuning anchor.
How to use it
Schedule this for a spring concert or graduation assembly where the familiarity of the tune and the upbeat character will land with audiences and students alike. It works equally well as a finale piece that sends people out smiling or as a bridge between classical and pop repertoire in a mixed concert.
Skills your students will build
- A cappella tuning and intonation without instrumental reference
- Layered rhythmic coordination between vocal percussion and choral parts
- Dynamic balance between solo and ensemble textures
- Rhythmic precision with stomps and claps as ensemble articulation
- Three-part harmonic awareness in a contemporary idiom