Name: Too Close For Comfort (Rebelution) by CPHS Vocal Music
Duration: 2 min 53 s
Description: Rebelution, Champlin Park High School's vocal jazz ensemble, performs the world premier of this commissioned arrangement of "Too Close for Comfort" by Dr. Jeremy Fox at A Jazz Cabaret, February 27, 2014.

Rebelution, Champlin Park High School's vocal jazz ensemble, performs the world premier of this commissioned arrangement of "Too Close for Comfort" by Dr. Jeremy Fox at A Jazz Cabaret, February 27, 2014.

Too Close For Comfort (Rebelution)

Step into the timeless swing of Harry Connick, Jr.'s "We Are In Love" with this dynamic arrangement for advanced SSATBaB vocal jazz ensemble. In this chart, vocalists often take on the role of the big band brass and winds, while a baritone soloist steps into Connick’s shoes to deliver this swinging love story. The ensemble shines in several key spots, taking the lead with bold and exciting harmonies.

A vocal or instrumental improv section adds a layer of spontaneity, launching the tune into a new key with a powerful sendoff from the choir. The ensemble remains engaged with energetic backgrounds, building towards an exhilarating hybrid shout section/soli section. The arrangement culminates in a huge final chorus, bringing the chart to a rousing peak before winding down to a clever and subtle finish.

Despite its swinging nature, the chart features a delightful contrast with sudden transitions to a straight-8th Afro-Cuban groove at the end of each chorus. This unique twist keeps both the singers and the audience on their toes, providing a fun and engaging listening experience.

Perfect for vocal jazz directors looking to challenge their advanced ensembles, this arrangement offers a mix of technical prowess, stylistic variety, and performance excitement. Check out the Scoreflipper preview to see how this arrangement can bring your group to new heights and captivate your audience.

We Are In Love (SSATBaB L5) KerryMarsh.com Demo

Sara Bareilles' "Someone Who Loves Me" is a heartfelt and intimate song that resonates deeply with listeners, capturing the essence of longing and love. This a cappella arrangement brings Bareilles' beautiful lyrics to life, using plenty of hocketing to maintain a rhythmic pulse throughout.

Designed with the power of the ensemble in mind, the chart includes just a brief lyric solo feature, allowing the group to deliver the song's poignant message collectively. The final verse introduces some reharmonization, beginning tenderly with the ensemble singing together and building to a "high-information" reharm moment that provides a stunning surprise and a powerful peak.

On a personal note, this arrangement holds special significance for me. I found myself tearful while writing it, even more so while singing my parts, and was profoundly moved once Julia's parts were added. The emotional climax came when "Badinage" performed it for me in a festival clinic, bringing me to open tears. This chart is close to my heart, and I hope it will resonate deeply with my director colleagues and their students for years to come.

Explore the Scoreflipper preview and see how this touching arrangement can become a meaningful part of your ensemble’s repertoire.

Someone Who Loves Me (SSATBaB L4) KerryMarsh.com Demo

Adapted by Kerry Marsh from Robert Glasper's funk/neo-soul arrangement, this take on the Nirvana grunge classic brings a fresh and dynamic flavor. Originally commissioned by Kansas City Kansas Community College, this version features a vocoder for the soloist to recreate Bilal's sound from Glasper's recording on "Black Radio," though the solo can also be performed effectively without the effect.

A hip-hop drums groove inspired by J. Dilla sets the stage, accompanied by funky bass lines and cool reharmonization. Intentional dissonance is a key part of the neo-soul style here, with some melody notes not aligning with the underlying harmony to create a distinctive sound.

The soloist sings the first verse and chorus with ensemble backgrounds, before the group takes over the second verse. This leads to a sudden push into a powerful second chorus, picking up the tempo and building all the way to a huge ending, including a highly reharmonized and rocking final section. This arrangement is perfect for ensembles looking to challenge themselves and captivate audiences with a bold and innovative performance.

Smells Like Teen Spirit (SSATB L4) KerryMarsh.com Demo

Sara Bareilles’ "Satellite Call" is a hauntingly beautiful song that speaks to feelings of loneliness and the comforting idea that someone is always there, like a satellite call reaching out through the void. Bareilles' ethereal production and poignant lyrics create an emotional atmosphere that resonates deeply with listeners.

This arrangement by Kerry Marsh and Julia Dollison captures and magnifies the powerful emotional impact of Bareilles' lyric story. Featuring a lyric solo for a soprano or alto, it introduces a unique ensemble effect where the group provides a "pre-echo" for the soloist, mimicking the production effect from the original recording.

The arrangement uses a variety of vocal ensemble textures, exploring a broad range of vowel colors and voicing types. Moments where the ensemble takes over the melody are particularly impactful, enhancing the emotional message of the song. The amazing vamping hook in the second half builds to a strong climax before releasing into a soft and exhausted finish, leaving a lasting impression on both singers and audience. Perfect for ensembles looking to convey deep emotion and showcase dynamic vocal abilities.

Satellite Call (SSATB L4) KerryMarsh.com Demo

Composed by Kerry Marsh for the 2023 Wyoming All-State Vocal Jazz Ensemble directed by John Stafford, this original wordless vocal jazz composition brings a fresh, medium-up swing vibe with its AABA form and memorable melody.

Designed to be accessible, "WyNot" uses a variety of part densities, including octaves, two-part writing, and careful voice-leading, making it suitable for ensembles at different skill levels. The original chord changes follow a logical progression based on bebop jazz conventions, adding a classic yet innovative touch.

The piece features improv space for a vocalist or instrumentalist, supported by easy-to-learn background parts. A post-solo development section introduces a refreshing use of modal harmony, leading into a strong finish with a stinger, ensuring a memorable performance. This composition offers a balanced mix of accessibility and sophistication, perfect for showcasing the versatility and talent of your vocal jazz ensemble.

WyNot (SSATB L3) KerryMarsh.com Demo

This version of Irving Berlin's classic standard takes a fresh approach by reimagining the often melancholy ballad in a medium-up swing setting. The ensemble carries almost all of the melodic content, with a brief solo breaking up the texture in the middle, adding a nice contrast.

The verse is used in an unconventional way, inserted between the head-in chorus and a big-band "shout section" style head-out, which includes a modulation. This creative structure gives the arrangement a dynamic and engaging flow.

With a strong start and finish, this chart makes a potentially great opener or closer for your set, providing an energetic and swinging take on a beloved classic. Perfect for ensembles looking to showcase their versatility and bring a new life to a timeless tune.

Remember (SSATB L4.5) KerryMarsh.com Demo

Arranged by Hannah Goodwin, this hip addition to our Laila Biali series features a driving soul groove with left-hand piano and bass pushing a solid eighth-note figure. Originally written for the UNT Jazz Singers to feature Biali as a guest artist, the arrangement primarily showcases a soprano or alto soloist.

The ensemble enjoys supportive writing with creative use of varied textures and voicing approaches, perfectly blending hip and dark modal harmonic writing from Biali. Goodwin’s arrangement captures these elements seamlessly, making for an engaging performance.

The chart ends with a surprising transition into a celebratory, almost gospel-influenced vamp, providing space for pop vocal improv. Hannah sings all of the SA parts on the demo, as well as the solo, and the UNT Jazz Singers rhythm section offers a beautiful accompaniment track. This piece will undoubtedly bring a dynamic and powerful energy to your program.

Queen Of Hearts (SSATB L4.5) KerryMarsh.com Demo

Julia Dollison wrote this powerful arrangement of the beautiful composition by the Canadian jazz/pop singer/songwriter and Juno Award-Winner Laila Biali. The arrangement is faithful to the original recording, while supplementing with great ensemble vocal writing, allowing for a variety of interesting textures and layers for your group to sing. 

A soprano/alto soloist is featured throughout, and one duet moment toward the end adds another interesting layer to the piece. Biali's moving lyric speaks of longing to be with a loved one who's far away, which is something to which we can all likely deeply identify.

Satellite (SSSAA L4) KerryMarsh.com Demo

With a party-like salsa/mambo groove, Laila Biali's tribute to New York City night life makes an ideal opener or closer for your vocal jazz group! Blues-tinged harmony, tight and dissonant group harmonies and soulful lines for an S/A soloist and the group provide an opportunity to put on a great show while also giving your ensemble excellent vocal jazz fundamentals to develop and showcase. The arrangement features optional solo breaks and a featured solo section for a horn player, with B-flat changes included to reflect the trumpet solos from Biali's original version. There's a sudden shift in energy in the bridge to reflect the feeling of party-fatigue and dizziness that ultimately give way to a strong groove all the way to a strong cold ending. 

Too Close For Comfort (Rebelution)

CPHS Vocal Music

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