NEW 2022 EDITION OF THE CLASSIC ARRANGEMENT FROM KERRY MARSH, WITH NEW DEMO AND TRACKS!
One of Kerry's earliest arrangements in the vocal jazz realm, Cole Porter's "I Love You" is a classic jazz standard (and not to be confused with the Billie Eilish song of the same name, coming soon this catalog) with a unique melody, great chord changes and a sweet lyric story. This up-tempo arrangement uses a recurring octave ostinato pattern to tie together  both new rhythmic and harmonic ideas along with straight-ahead burning swing. The biggest renovation from the original 2003 arrangement is a new soli section, which will be impressive AND singable for the ensemble, particularly aided by the SkyTracks and Vocal Part Tracks resources now available. A tenor soloist is featured (all singable by an alto vocalist as well), and space for a vocal or instrumental solo is included. 
Fully Notated Piano and Bass Parts, Drums.

I Love You (Porter) 2022 Version - KerryMarsh.com Demo

A beautiful contemporary reimagining of the hit from The Mamas and the Papas, taking you through polyphony and sudden surprising harmonic detours.  Notated piano and bass parts and good voicing leading make this chart very singable by groups with some experience and maturity, and the payoff is chills-inducing.

California Dreamin' - (SATB Level 4) (arr. David von Kampen)

Taylor Eigsti and Becca Stevens' absolutely beautiful composition featured on Taylor's album "Daylight at Midnight", as arranged for Vertical Voices, featuring a female vocal solo and very vip rhythm section accompaniment.  Different from the original in that it was written to serve as a closer for Vertical Voices, so it has a powerful and intense finish.

Magnolia (Level 3.5 SSATB)

Composer(s): Eden Ahbez
Arranger: Kerry Marsh
Voicing (with percentage of divisi measures):SSAA
Measures: 215
Level: 4
Accompaniment: Fully-notated piano and bass parts, drums
Original/Reference Artist: Kurt Elling
Performance Time: 5:43
Meter/Tempo: 4/4 @ 156
Solos: SA Lyric Solo (20 bars)
Style Notes: Driving straight-8ths groove, floaty (but in-tempo) introduction
Arrangement Features: 2024 version of the classic Marsh chart makes the formerly rubato introduction in-tempo, in order to help groups keep aligned. Scat syllables are now fully in agreement with the demo and tracks (which has been newly sung and mixed, with live drums). Features inspiration from the arrangement for Kurt Elling's "Live In Chicago" album, including a soli section based on his scat solo.
Suggested programming role(s): Strong closer or opener
Range Extremes: S1 high: B5. Alto low: E3
Lyric Summary: conveys a narrative about a unique, mystical young boy who travels extensively. He's portrayed as shy, introspective, yet profoundly wise. The lyrics emphasize a key life lesson he shares, centered on the profound simplicity and importance of love - both giving and receiving it. This message is framed as the most significant wisdom one can acquire.
Demo Credits: Sop/Alto Vocals, Julia Dollison. Acoustic bass/piano programming, Kerry Marsh. Drums, Matthew Chalmers
Commission Credit: NA
Release Year: 2024

Nature Boy (SSAA - L4) - KerryMarsh.com Demo

A fresh addition to the KerryMarsh.com catalog, Lauren Bydalek's arrangement of John Mayer's "Stop This Train" features impeccable arranging choices and an economical approach, making it a high-value chart for intermediate (and above) vocal jazz groups. Mayer's contemplative lyrics and perfectly crafted musical ideas are beautifully complemented by Bydalek's sensitive and thoughtful additions, ensuring this chart will be a hit.

The arrangement features plenty of unison and two-part writing at soft dynamics, with a judicious use of sophisticated vocal jazz harmonies that give the story ample space to be delivered and understood. A baritone/tenor vocal solo is thoughtfully timed, with supportive backgrounds and open space for expressive interpretation. This piece captures the reflective essence of Mayer's original while providing a rich, textured experience for both singers and listeners.

This chart is simply beautiful, and you'll need to listen for yourself to appreciate the nuance and artistry Bydalek brings to the vocal jazz scene. Welcome this new voice to your ensemble's repertoire and enjoy the contemplative journey "Stop This Train" offers. Check out the Scoreflipper preview to hear how this arrangement can become a standout in your program.

Stop This Train (SSATB L3) 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

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. 

We Go (SSATB L4) KerryMarsh.com Demo

This arrangement of "Over," originally performed by Yebba and Robert Glasper, brings a smooth yet driving groove that perfectly complements Yebba's soulful, melismatic style. The piece features beautiful neo-soul harmonies, creating an immersive soundscape that showcases both the ensemble and the soloist.

The arrangement cleverly splits the lead melody between a soloist and the ensemble, allowing for dynamic interplay and highlighting the expressive potential of both. A repeated chorus figure provides plenty of space for the rhythm section to shine, encouraging listeners to get lost in the groove and engage with the music on a visceral level.

To add variety, the second verse introduces reharmonization that enriches the already colorful harmonic landscape. This twist not only keeps the performance fresh but also challenges the singers to explore the depths of the neo-soul style. Perfect for groups looking to capture the emotive essence of Yebba and Glasper's original while adding their unique flair.

Over (SSATB L4) KerryMarsh.com Demo

This arrangement captures the driving and energetic spirit of the original track, bringing its infectious groove to life with a dynamic interplay between a soprano/alto soloist and the ensemble. Following the original recording closely, the choir alternates between singing background figures and taking the lead, using unisons and three-part gospel-style harmony to great effect.

The rhythm section's role is crucial, with a keyboardist switching between a clavinet and jazz organ patch to recreate the distinctive accompaniment sound from the demo recording and Martin's original track. This blend of textures and harmonies brings out the powerful, soulful essence of the song, making it an exciting addition to any performance. The arrangement offers both ensemble and soloists moments to shine, ensuring a vibrant and engaging performance that resonates with audiences.

Dig into the groove and let the energy of "Push" drive your ensemble to new heights!

Push (SSATB L3.5) KerryMarsh.com Demo

This arrangement of "Sassy," inspired by Kurt Elling's version from the *Superblue* album, brings a modern twist to the classic originally performed by The Manhattan Transfer. Featuring the vocal ensemble prominently throughout, this chart captures the energy and spirit of Elling's interpretation while providing a fresh take on the song, which is a tribute to jazz legend Sarah Vaughan.

The ensemble handles nearly all the lyric content, weaving through the intricate and plentiful lines with style and precision. There are also moments where the group seamlessly integrates aspects of the instrumental arrangement, ensuring the performance is engaging and cohesive. One standout section features the choir grooving with just the drums, highlighting the dynamic interplay between voices and rhythm.

The arrangement includes some exciting, fast-moving harmonies, especially on the "Workin' in the daytime..." section, which showcases the group's agility and tight coordination. Toward the end, a baritone soloist steps into the spotlight, embodying the role of Kurt Elling with both notated lyric riffs and opportunities for vocal improvisation, adding an extra layer of excitement and individuality to the performance.

Dig!

Sassy (SSATB L5) KerryMarsh.com Demo

A fun treble arrangement of Lianne La Havas' uplifting song about having confidence in a loving relationship, this arrangement has a refreshing sound, with a touches of jazz (of course!), doo-wop and R&B. The chart features lyric solo moments and some great tight harmony for the ensemble, and it ends with some horn-style figures for the group. This one would work well as either an opener or a closer for your set!

What You Don't Do (SSAA L3.5) KerryMarsh.com Demo

This arrangement captures the joyous energy and upbeat spirit of the original track. The treble ensemble parts are notated in a combination of one, two, and three parts, sung homophonically, and splitting the lyric responsibilities with an energetic soloist. The use of triadic harmony makes the group parts accessible and helps the choir sing in tune, ensuring a vibrant performance.

Auxiliary percussion parts are included in the drum set part, and, if utilized, the added percussion can bring even more of a party atmosphere to your performance. A ukulele keyboard patch is used on the recording, and you can certainly feature a ukulele player if you have one, using the chord changes and rhythms in the fully-notated piano part. To further elevate the energy of the arrangement, two optional saxophone parts are included, adding an exciting layer to your ensemble's performance.

With its infectious groove and dynamic interplay between soloist and ensemble, this arrangement will have audiences feeling the joy and excitement that Sammy Rae & The Friends are known for.

Whatever We Feel (SSA L4) KerryMarsh.com Demo

Hard swinging chart with blues-based harmony and some fun ensemble figures back up a soulful soloist. A surprising bossa nova scat solo section with backgrounds leads into a chilled out bridge before launching into more hard-swinging material for a shout section to the end.

Willow Weep For Me (SSAB L3.5) KerryMarsh.com Demo

Matthew Chalmers's arrangement of the Sara Bareilles song of empowerment for women and girls, with a great driving groove and lots of syncopation. Vocals are mostly written in two parts, with occasional splits to three and four parts. Pop inflections are carefully notated throughout to match the demo recording. Chalmers reharmonizes the second verse for some vocal jazz flavor before returning to the strong pulse. Could serve in any programming role.

Armor (SA w/ divisi Lv 3) KerryMarsh.com Demo

The Cole Porter song is arranged in a reharmonized post-bop swing style, and is a great ensemble feature, as it doesn't include any lyric or improv solos, but does use a wordless soli section and an interesting, floaty breakdown section featuring the verse melody, leading into a reprise of the head, ending with a drums solo over a modal vamp. A strong finish makes this a candidate for a great set closer!

You Do Something To Me (SSATB Lv 4) KerryMarsh.com Demo

With a lilting 6/8 feel, this original choral pop composition by Rosana Eckert is accessible and expressive, with an uplifting message for younger choral groups and vocal jazz ensembles. A solo part for a treble vocalist can also be sung by a small group. Eckert includes a wordless bridge for a harmonic and texture variation before bringing the chorus back for a final time, with an optional SSA "descant" soli group section included to elevate the emotional energy of the piece toward the end. This piece will work in any part of your program (maybe not as well as an opener?) but could effectively close your concert with a settling and peaceful feeling of resolution.

Take The Long Way Home (SAB Lv 2 Starter Series) KerryMarsh.com Demo

Take The Long Way Home (SATB Lv 2 Starter Series) KerryMarsh.com Demo

For advanced women's groups! This setting of Julia Dollison's "derangement" of the classic standard pulls no punches, and is meant for top-level high school and college treble vocal jazz ensembles. With challenging harmony for the singers and complex modern conceptual playing for the rhythm section, this chart will push your group to a new level and serve as a deeply artistic take on a familiar song. 

All the Things You Are (SSAA - L4.5) - KerryMarsh.com Demo

Julia Dollison's 1996 samba arrangement of the Kern/Hammerstein standard is given a serious re-working here, and emerges fresh and exciting, with a taste of contemporary reharmonization added, soli section reinvented, solo backgrounds added and a male/female duet is added for texture contrast and the rhythm section parts have been fully written out. The samba groove feels greats on this chart, and the lyric is carefully set to make it accessible and highly effective for solid school groups. 

The Song Is You (2016 Revision, arr. Julia Dollison/Kerry Marsh) (SSATB Level 3.5)

Blossom Dearie was one of the few singers to record this swinging, fun jazz tune, and this arrangement borrows the vibe and harmony of her performance while expanding and opening up the possibilities for the ensemble vocal jazz setting. A few sneaky quotes in the backgrounds and soli/shout sections provide some Easter eggs for your audience (and singers), and solo space is included for improvising singers or players. 

Comment Allez Vous (SSATB Level 4)

This is an arrangement demo of Simon Åkesson's arrangement the J.S. Bach composition "Air on a G String", as performed by the international a cappella group Accent. 

This arrangement is like a vocal jazz "vignette"...a brief but very effective swinging, heavily reharmonized take on a ubiquitous melody by J.S. Bach. 

Lowest regularly occurring bass notes is D, and the lower notes written (as low as B in a couple spots) are singable up an octave to good effect if necessary. 

Air on a G String (SSATBaB - L5) - KerryMarsh.com Demo

Here's a burning swing chart on the classic Cole Porter standard to wow your audiences! Designed to serve as an opener or closer, this arrangement features two wild soli sections for the vocalists, solo space for your drummer, a hard-swinging half-time section, a vamping ending with the rhythm section and/or audience singing along...this chart has all the things!

It's Alright With Me - SSATB Lv 5

Composed by Maria Schneider, performed by Kerry Marsh and Julia Dollison, from the album "Vertical Voices: The Music of Maria Schneider" (ArtistShare 2009). Frank Kimbrough (piano), Ben Monder (guitar), Jay Anderson (bass), Clarence Penn (drums)

Vertical Voices - The Music Of Maria Schneider

Hang Gliding - Dollison and Marsh

4/4 swinging version with original vocalese
mixed notated/chord chart piano and bass, dr.

Emily

Imogen Heap ode to creativity, from "Ellipse"
Notated piano and bass, dr.

First Train Home

STARTER SERIES
Bob Dorough and Dave Frishberg's funny and clever lyric swings in this straight-ahead chart
notated piano and bass (with chords), drums

I'm Hip (SSAB - L2.5) - KerryMarsh.com Demo

A classic of the KerryMarsh.com main catalog, this wordless chart used by so many groups in the past as an effective show closer seems like a gradual crescendo for its duration, building energy to a strong finish that you can, honestly, hold out as long as you want in the concert, and I think the audience will still be into it! Kenny Garrett’s hip modal harmony and beautifully simple melodic writing need very little arranging in this chart, so my big intro section is honestly the majority of original ideas in the arrangement…the original version is highlighted pretty for the rest of the piece, with an open solo section on the four chord sequence that ends up being an earworm for the audience as soon as the performance is finished. 
noted/chord chart piano, notated bass, drums (note: only a few chords at the end split to 3 and 3)

Sing a Song of Song (SSATBaB Lv 3) KerryMarsh.com Demo

Virtual Insanity

STARTER SERIES
Based on the Mel Torme interpretation, accessible and swinging
notated piano and bass (with chords) and drums

We've Got a World That Swings (SAB Lv 2) KerryMarsh.com Demo

Quirky and popular Stevie Wonder classic
a capella

Don't You Worry 'Bout a Thing

The classic ECM jazz hit from The Pat Metheny Group is wordlessly arranged for beginning and intermediate vocal jazz ensembles.  A fun samba flavor and cool contemporary harmonies, as well as a scat solo, are featured.  Notated piano and bass parts, and a drum set part, are included.

Phase Dance

The Sac State Jazz Singers (Spring 2012) sing my arrangement of "My Foolish Heart/Moth".  This arrangement was the winning submission in the first of three "Marsh Madness" tournaments to determine which charts I'd write, and the winning submitter was Sally Greenaway.  

This arrangement is based on Kurt Elling's version of the standard (arranged by Laurence Hobgood, his pianist and collaborator, as well), with the inserted "Moth" poem by Rabia, an 8th century mystic from Basra, Iraq.

My Foolish Heart/Moth

Inspired by the solo piano/vocal version by Sara Bareilles, this Elton John pop classic has an added layer of reflective emotion and builds to a powerful climax before settling down again. Written for piano and mixed vocals, the chart features some lyric solo spots. A few 5-part splits, but largely 4-part writing.

Goodbye Yellow Brick Road  (SSATB Lv3)

The earthy, tribal feel of Rusted Root's 90's classic "Send Me On My Way" fits well as a Bobby McFerrin-esque a capella tune with plenty of jazz harmony.

Send Me on My Way - SSAATTBB Level 3.5

This is the full collection of recordings released on four albums by Sacramento State Vocal Jazz under the direction of Kerry Marsh.  The albums were released between 2003 and 2008.  Plans are underway for a fifth album to be released in the Spring of 2013!
'
The albums represented here are "On the Outside", "In the Winelight", "In Your Eyes" and "Pale Blue Dot".

Minuano, arr. Marsh

Impressions, arr. Marsh

Vocal jazzers love this tune, but have you heard this blues from Lambert, Hendricks and Ross as a reharmonized, groovy funk-rock chart?  Take a listen!  The chart is written for beginner groups that want to put some soul into their performance.

Centerpiece (SSAB- L2.5) - KerryMarsh.com Demo

The mind-blowing a capella quintet Pentatonix ("The Sing Off") arranged this already super-cool Imogen Heap tune from "Ellipse", and my job here was to thicken it up and make a few tweaks that helped it fit a larger vocal jazz ensemble.  There's some added complexity, compared to their version, but the chart retains their futuristic spirit and nuance.  

https://www.kerrymarsh.com/collections/main-catalog/products/aha-pentatonix-plus-version-saatbab-l4

Ah-ha (SSAATBaB - L4) - KerryMarsh.com Demo

This chart on the incredibly hip Hiatus Kaiyote tune features a highly stylized lyric soloist (sung here by Lauren Johnston) and wholly-unique vocal ensemble material, as well as funky and wildly-syncopated rhythm section parts. A thickly-veiled lyric will give your ensemble an opportunity to explore their interpretation of the song's meaning. Students will love singing this chart by a favorite, always-inventive band. 
Fully-notated piano, bass and drums parts (Full score included)

Molasses (SSATB Lv5) KerryMarsh.com Demo

An adaptation of the amazing Dirty Loops arrangement of Adele's "Rolling in the Deep", set for vocal jazz ensemble.

KerryMarsh.com

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