The Climb Sheet Music — Orchestra, Band & Choir

Yes, twice over. The player near the top of this page carries a one-minute excerpt from Paul Lorenz’ own studio recording of this arrangement, and the gold Artyfile Stream link beside it opens the complete four-minute recording on Paul’s own hi-fi streaming service. What you hear is exactly the version whose sheet music you are buying — same key, same tempo, same orchestration.

One PDF of 68 pages containing the complete performance material: the 14-page conductor’s score in C on A3; individual parts for alto saxophone, horn in F, trumpet in B♭, tenor trombone, timpani, drum set, bass guitar, piano, violin I, violin II, viola, violoncello and double bass; separate parts for the alto soloist, soprano, alto and tenor; the eight-page choral score; and a 12-page vocal score with piano for rehearsals. Everything is print-ready and tablet-friendly, and the download begins immediately after purchase.

Alto saxophone, horn in F, trumpet in B♭ and tenor trombone — timpani and drum set — bass guitar and piano — violin I, violin II, viola, violoncello and double bass — plus an alto soloist and a three-part choir. Seventeen separate parts in all — eighteen staves in the score, since the piano takes two. The thirteen instrumental parts can be covered by thirteen players one to a part, which is what makes it programmable; give the string parts to full sections instead and the same score becomes symphonic.

It is a three-part choir — soprano, alto and tenor — not SATB. There is deliberately no bass voice: the bass line belongs to the cellos, double basses and bass guitar, which is how the original record is built. In practice this makes the edition easier to cast than an SATB setting, because the part most choirs struggle to fill is the one that is not there. There is no divisi anywhere; every voice sings a single line throughout, and the tenor part is notated in the treble clef with the customary octave-below sign.

E major throughout, 4/4, at ♩ = 79. The alto soloist covers F♯3 to E5 and sits mostly between E4 and G♯4 — a comfortable female pop range that a strong choir member can sing. The soprano part spans B3 to G♯5 and lives around G♯4 to B4; the alto spans B3 to E5 around E4 to G♯4; the tenor sounds from F♯3 to C♯5 and sits around B3 to E4. Two notes are worth flagging honestly before you buy: the sopranos touch G♯5 exactly once, on the final fortissimo “Ah” in bar 79, and the tenors touch C♯5 exactly once, at the climax of the interlude in bar 57. Everything else in all four voices stays inside a normal amateur range.

The solo is written for one voice in the alto/mezzo range and is meant to be singable from inside your own ensemble — it never rises above E5 and never falls below F♯3. Choirs programme this piece both ways: with a soloist stepping out of the choir, and with a guest singer or a student soloist front of stage. The solo also has its own three-page part, so whoever sings it can rehearse from a single sheet without carrying the whole score.

About four minutes — 80 bars of 4/4 at ♩ = 79; Paul Lorenz’ complete recording runs 3:58, and the sound sample on this page is a one-minute excerpt from it. That length is the practical one. It is long enough to be the emotional centre of a programme and short enough to prepare alongside everything else you are rehearsing, which matters when a ceremony or a gala has a fixed running order.

Yes, and the material for that is already in the download. The 12-page vocal score sets the soloist, soprano, alto and tenor above a full piano part with chord symbols throughout, so a pianist alone can accompany the choir at rehearsals or in a smaller venue. It is the arrangement’s own piano part — two-handed, with a real groove and a complete chord chart above it — rather than a written-out reduction of the whole orchestra, which is what lets a pianist fill in as much of the band as the room needs. The chord symbols also mean a rhythm section — piano, bass and drums, with or without the horns — can play from the same pages, which is the arrangement most schools and churches end up using for the dress rehearsal. If you want a written-out reduced orchestration for a specific set of players, ask before you buy.

Accessible to good amateur and semi-professional forces. The choral writing is homophonic with comfortable ranges and no divisi; the string parts lie idiomatically; the wind and brass writing is a single line each, with the one genuinely energetic passage being the unison sixteenth-note interlude from bar 54. The drum set part is written out in full rather than left to a groove marking. Two to three rehearsals put it on its feet. Bespoke adaptation is a core service — a reduced orchestration for the players you actually have, a wind-band version, a transposition for your soloist, added divisi, or an SATB adaptation. Contact us before purchasing; adaptations are handled personally and usually take two to three weeks.

Yes. This is an officially licensed arrangement of the Jessi Alexander and Jon Mabe composition, used by permission, and your purchase includes the licence for performances of this Paul Lorenz edition by the purchasing ensemble at concerts, ceremonies and services — with no additional arrangement-specific fee and no rental. You may print the material for your own ensemble as often as you need and keep the files. As always, the public performance of the underlying composition is reported to the responsible performing-rights society — ASCAP, BMI or PRS internationally, GEMA, AKM or SUISA in German-speaking countries — by the organiser; venues with a blanket licence often handle this themselves, but the responsibility stays with the organiser. For commercial recordings or broadcast use, please contact us directly.

Because the complete 68-page file is delivered immediately after purchase, downloads cannot be refunded. Please use what is on this page before you decide — the score preview opens full size and zooms to natural resolution, the specifications and vocal ranges are stated in full above, and the sound sample plus the complete recording on Artyfile Stream let you hear the arrangement rather than guess at it. If you would like to see more pages before buying, ask and we will send extended sample pages.