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You're the One That I Want: SAB Choral Octavo

$2.10 USD
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You're the One That I Want Cover Image
You're the One That I Want: SAB Choral Octavo

You're the One That I Want: SAB Choral Octavo

From the Musical Grease

Words and music by John Farrar / arr. Alan Billingsley

Item: 00-27424
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Description
You've seen Grease, the musical, Grease, the movie, and now, "You're the One That I Want," the hit TV show casting the lead roles for the Broadway revival of Grease. So now, sing the hit from the musical, the movie, and the TV show: "You're the One That I Want." It's a hot new choral version, just in time for the Broadway opening. Alan Billingsley's arrangement captures all the excitement of the smash 50s musical. Choreography featured on "Razzamatazz!" DVD (item 00-27430).

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, You're the One That I Want: SAB Choral Octavo comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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Additional Details
Series: Alfred Pop Choral Series
Publisher: Alfred Music
Page Count: 12
UPC: 038081296838
SKU: 00-27424

More about this title

About the Composer: John Farrar

John Farrar wrote the music and lyrics for some of the most memorable songs in Grease, including this iconic duet. His work on the 1978 film adaptation helped define the sound of one of cinema's most enduring musicals, and his melodies have remained standards in popular music ever since.

Farrar's gift for crafting infectious, singable melodies made him an essential voice in musical theater during the 1970s and 1980s. His compositions for Grease continue to resonate with performers and audiences across generations, proving that great pop songwriting transcends its era.

Why we love this

Alan Billingsley's arrangement takes a beloved pop standard and reimagines it for SAB voices without losing the infectious energy that made the original a smash hit. The inclusion of movement and staging notes means your singers can capture the playful, flirtatious spirit of the piece while learning solid three-part harmony. Programming this at a pops concert or spring show instantly connects with audiences who know the song inside and out.

What to expect

Infectious, energetic, and unmistakably 50s. The harmonies shimmer with period charm while the melody bounces along with the lightness of a summer romance. From the first note, you're transported to the carnival atmosphere and teenage excitement that made Grease a cultural phenomenon.

Who it's for

This arrangement works for high school, community, and adult choirs seeking contemporary pop literature with built-in crowd appeal. It's ideal for singers comfortable with three-part voicing who want to tackle a song they already know and love, making it equally valuable for developing musicianship and building confidence in newer singers.

How to get the most out of it

  • Nail the rhythmic precision in the opening. This arrangement thrives on tight, syncopated ensemble work, so lock the unison sections before tackling the SAB splits.
  • Use the recorded accompaniment to establish the groove and help your singers feel the 50s pop sensibility that defines the piece.
  • Lean into the comedic potential of the text. The flirtation between parts should feel playful and theatrical, not overly formal.
  • Check the staging notes provided in the octavo. Movement and choreography will bring out the personality that makes this arrangement sparkle.

How to use it

Pair this with other pop standards or musical theater selections for a pops concert that connects with broad audiences. It also fits beautifully in a 1950s-themed program or a Broadway revue. The recorded accompaniment makes it practical for schools with limited instrumental resources, and the staging options let you mount a fully realized performance even at smaller venues.

Skills your students will build

  • Reading SAB voicing and balancing three-part harmony
  • Rhythmic precision in syncopated pop writing
  • Connecting choreography and movement with vocal performance
  • Ensemble intonation across separated voice parts

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