An uplifting song arranged by members of the LABBS Music Judging Category in 4 part close harmony for women's voicings, in the barbershop style (internal melody). Sticking fairly close to the original, the arrangement features solos of each voicepart on the melody, and rousing homophonic choruses. The standard tag builds to a satisfying climax, with an optional extended tag that sends it through the roof!

The arrangement is suitable for most female barbershop choruses and quartets as a fun, fairly quick learn for performance repertoire. Each voicepart is well within the standard barbershop ranges of most arrangements (Basses: low E, one low D has an alternate note offered). Note: if you are unfamiliar with the scoring of female barbershop music, be aware the bass clef should be sung an octave higher than written, as designated by the 8 above the clef.

This arrangement is not suitable for use in barbershop contests.

This song and arrangement would also be a great choice for other genres of female choirs and a cappella quartets or ensembles, including high school / college / secondary school choirs wanting to try the barbershop style. It is a fun and modern song containing a strong and poignant message about not bending to peer pressure and being your own person and remaining true to yourself.

Learning tracks available separately from www.hbteachtracks.co.uk

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Original song by Pentatonix (Words and Music by Mitchell Grassi, Scott Hoying, Kevin Olusola, Martin Johnson and Sam Hollander).

Arranged in four parts (SSAA) by Boo de Bruin. 6 pages for Sweet Adelines (ladies' barbershop) chorus.

Please note: in keeping with normal barbershop practice, an octave-shifted bass clef is used for the baritone and bass parts (roughly equivalent to alto 1 and alto 2). The piece does contain one 5 part bar (Bar 60) where the lowest part contains an optional C3. In a quartet, the bass could either sing this C3, or the C4. In a chorus without a bass section with reliable C3, the C4 on its own is also fine!

Vocal ranges are:
Tenor (S1): C4 - F5 (middle C to F above high C)
Lead (S2): A3 - C5 (A below middle C to high C)
Baritone (A1): Bb3 - C5 (Bb below middle C to high C)
Bass (A2): (Optional C3 in one bar) Eb3 - F4 (Eb below middle C to F above middle C)