Composer(s) -- David von Kampen
Arranger -- David von Kampen
Voicing (with percentage of divisi measures) -- SATBaB (Bari 7%)
Measures -- 97
Level -- 4
Accompaniment -- Fully-notated piano and bass parts, percussion
Original/Reference Artist -- N.A.
Performance Time -- 3:51
Meter/Tempo -- Mostly 4/4 @ 102
Solos -- Any voice improv: 19 bars
Style Notes -- Straight 16ths contemporary jazz
Arrangement Features -- Through-composed, modal harmony
Suggested programming role(s) -- Mid-set
Range Extremes -- Sop: D5, Bass: F#2
Lyric Summary -- Wordless vocal
Demo Credits	 -- Soprano/Alto Vocals: Julia Dollison
Tenor/Bass Vocals and solo: Kerry Marsh
Piano, Bass and Percussion: David von Kampen
Commission Credit -- None
Release Year -- 2023

Color Theory - KerryMarsh.com Demo

Composer(s) - Kate McGarry and Peter Eldridge
Arranger - Edited by Kerry Marsh
Voicing (with percentage of divisi measures) - SATB
Measures - 115
Level - 3
Accompaniment - Fully-notated piano, acoustic bass and drums parts, with optional guitar
Original/Reference Artist - Moss
Performance Time - 5:47
Meter/Tempo - Mostly 4/4 @ 100
Solos - Improv space for vocalist or guitar: 36 bars
Style Notes - Jazz-infused folk-pop wordless polyphony
Arrangement Features	Section feature moments throughout, meter change in solo section, emotionally charged push to high point, then denouement to soft finish
Suggested programming role(s) - Mid-set
Range Extremes - S1 as low as F at times in unison with other parts, high of C5 (treble C), Bass low of F with optional low D moments in a feature section (octave up optional)
Lyric Summary - Wordless vocal
Demo Credits - Soprano and Alto Vocals: Julia Dollison
Tenor and Bass Vocals, Piano and Bass programming: Kerry Marsh, Guitar: Steve Kovalcheck, Drums: Matthew Chalmers
Commission Credit - None
Release Year - 2023

These Things Take Time (Lv3 SATB) KerryMarsh.comDemo

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

Reharmonization, modulations at each verse, each section gets at least one melody feature. Tender a cappella carol with jazz harmony.

Away in a Manger (SATB - L3) - KerryMarsh.com Demo

Away In A Manger (SSAA - L3.5) - KerryMarsh.com Demo

"Them Changes" is a standout track by Thundercat, featuring a funky, bass-driven groove that highlights Thundercat's virtuosic bass playing and unique blend of jazz, funk, and R&B influences. The lyrics explore themes of heartbreak and emotional turmoil, delivered with Thundercat's signature falsetto vocals. 

Kerry Marsh's vocal jazz arrangement begins with an a cappella rendition of the song's bridge, serving as a teaser before launching into the now-iconic drums and bass groove. A hallmark of neo-soul, the dissonance between the chord changes and the melody can present challenges for vocal harmonies. This arrangement skillfully navigates these tricky spots, employing octaves and unison writing to minimize clashes, and then breaking out into lush, dense harmonies where they are most effective.

The chart concludes with a space for vocal or instrumental improv, accompanied by vocal backgrounds, ending the piece in a sudden and unconventional manner. This modern-day classic will be a hit with your vocal jazz ensemble, offering something for singers, instrumentalists, and the audience alike to enjoy. 

Perfect for advanced ensembles looking to explore contemporary jazz-funk, this arrangement captures the essence of Thundercat's innovative style while providing a fresh and exciting challenge. Check out the Scoreflipper preview to see how this arrangement can elevate your group's performance and captivate your audience.

Them Changes (SSATB L4.5) 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

This chart fits the "something different" category as well as anything you'll find in vocal jazz programming. Alt-J's odd and darkly captivating piece with a thinly veiled reference to the classic movie "Alien" is a rocking feature that is best performed by groups with a guitarist who can effectively use distortion and a male soloist who can dig into the pop/rock style comfortably. 

The Gospel Of John Hurt - SSATB - Level 3.5

Bob Dorough's classic jazz standard is arranged in a swinging style for treble vocal jazz ensemble, including a singable but impressive soli section. No improv section written into this chart, though it could be easily added if solos are desired. An extended coda figure brings the chart to a strong conclusion, helping it serve as a good opener or closer.

Devil May Care - SSAA - Level 4

Part of the “Refreshed” series, this SSATBaB (with vocal percussion) update of “Selfless, Cold and Composed” reworks my 2008 chart originally written for the Sacramento State Jazz Singers’ feature on Ben Folds Presents College A Capella. Now in a key suited for a baritone/tenor lyric soloist (in the spirit of Folds’ recording), with a more accessible bass range and shared melodic opportunities across sections. A 3/4 jazz waltz feel throughout, with richly varied ensemble textures and polyphony via open-score writing. Includes scat solo space. Best programmed mid-set.

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Selfless Cold and Composed "Refreshed" (SSATBaB Lv 5) - KerryMarsh.com Demo

This SSATB arrangement stays true to the original recording from Willow’s 2024 album Empathogen, capturing its energy and rhythmic complexity with minimal deviation. The chart features a lyric solo for soprano or alto as well as ensemble lyric sections, all layered over shifting meters—alternating 4/4 and 3/4 in the verses and pre-choruses—before locking into a head-nodding eighth-note drive during the choruses. The surprising yet grounded progressions carry the emotional weight, while moments of hemiola and syncopated ensemble writing challenge and energize the group. The mood is serious and contemplative, with rich textures supporting the song’s theme of self-reflection and transformation. Fully-notated piano and bass parts plus drums round out the rhythm section. With a powerful build that sustains through the final chorus, this one can anchor any spot in your set—opener, closer, or somewhere in between.

Symptom of Life (SSATB Lv4) KerryMarsh.com Demo

A punchy and swinging take on the Punch Brothers’ “Rye Whiskey,” this chart keeps the original tempo but flips the feel into an up-tempo swing, leaning into the tune’s bluesy harmonic core. David von Kampen does what he does best—manages voicing density in smart, economical ways while giving the group big, satisfying hits of jazz harmony and some killer rhythmic punctuation. No lyric solos here, but there’s room for multiple improv features—vocal or instrumental—so it’s easy to tailor the vibe for your group. A few fresh reharms and textural surprises pop up along the way to keep singers and listeners on their toes. The mood rides the line between raucous and a little melancholic—lyrically reflective, but musically pretty joyful. SSATBaB voicing with minimal S2 and bari divisi, and a rhythm section setup that includes fully-notated bass, a piano part with chord symbols and rhythmic kicks, and a drum part that ties it all together. Strong option for either end of your set.

Rye Whiskey (SSATBaB Lv4.5) KerryMarsh.com Demo

Laila Biali’s serene and subtly intricate composition gets a vocal jazz treatment here that mirrors the graceful flow of the original. With a gently pulsing groove and modal harmonies that feel both fresh and approachable, this arrangement brings out the tune’s peaceful, reflective nature without tipping into sentimentality. A Soprano/Alto soloist floats in briefly with a pair of wordless lines, and the vocal ensemble shifts fluidly between unison textures and harmony of varying density levels, with limited S2 divisi, making this chart accessible to a wide range of groups. Rhythm section parts (fully notated for piano, bass, and drums) capture the subtlety and spirit of Biali’s recorded version, keeping things steady without weighing the piece down. No improv sections featured. Ideal for mid-set programming, especially when your group needs a moment to breathe and draw the audience in with something quietly compelling.

Alpha Waves (SSATB Lv3.5) KerryMarsh.com Demo

Part of our “Refreshed” Series, this updated take on our 2005 arrangement of I Want You Back celebrates the chart’s 20th anniversary with a fresh coat of paint and—finally—a proper studio demo. Much of the original arrangement remains intact, but several key sections have been smoothed out to be more friendly for the ensemble and more effective for the audience, especially the last phrase of each chorus, which used to be a major difficulty spike. Scored for SSATB with fully-notated piano and bass parts plus drums, this version keeps all the rhythmic drive and energy of the original, including a super-fun group soli that evokes the iconic octave guitar hook from the Jackson 5 track. A few sudden reharmonization moments lend a contemporary twist, and there’s space for a lyric soprano or alto soloist as well as optional improv (vocal or instrumental—one scale works great throughout). It’s dramatic, engaging, full of dynamic nuance and a surefire crowd-pleaser. Feels nearly perfect as a show opener or closer…your only challenge will be deciding which.

I Want You Back "Refreshed" (SSATB Lv3.5) KerryMarsh.com Demo

“Yellow” finds new color in this SATB treatment, drawn from Laila Biali’s jazz re-imagining of the Coldplay anthem and skillfully adapted for choir by Will Clements. Fully notated piano and bass parts plus drums set the harmonic canvas, while an alto soloist frames the story at the opening and again in the closing tag. Clements preserves Biali’s inventive reharmonization, letting vertical sonorities bloom without sacrificing the tune’s familiar warmth. Careful linear voice leading keeps entrances intuitive, so singers can focus on nuance rather than note-chasing.

Across its runtime the arrangement shifts textures—unison passages, tight clusters, transparent pads—offering the ensemble fresh scenery at every turn. Momentum builds through layered backgrounds and rhythmic lift, cresting in a final chorus that releases into one last, intimate solo statement. The result feels both inspirational and personal, a dedication piece that can serve as heart-on-sleeve ballad, reflective midpoint, or a gentle closer that leaves listeners with just a hint of longing.

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Yellow (SSATB Lv3) KerryMarsh.com Demo

Breathless began life with CPR, the jazz-rock outfit David Crosby steered from 1997 to 2004, and it arrives here in an SSATB package with fully notated piano and bass plus drums driving a flowing but syncopated rock groove. I learned about this song due to a tip from my friend Trist Curless (Manhattan Transfer, m-pact), who sent the tune over as one of those “you have to hear this” finds; its blended three-part harmonies and Crosby’s unmistakable compositional fingerprints immediately felt tailor-made for a vocal jazz treatment. Gaw Vang-Williams felt the same and commissioned the arrangement for her Folsom High School Jazz Choir and she also lended her singing skills to the demo.

A short tenor or baritone lyric solo opens the chart, briefly morphing into a duet before the ensemble steps in to take over the verse and chorus lyric, and eventually to lay down backgrounds for an improvised feature—vocal or instrumental—then everything lifts into a rousing final chorus. Directors will notice how the jazz-inflected changes keep singers on their toes without turning rehearsal into a grind, and the rock foundation with full notation helps rhythm players lock in right away. Program it wherever your set needs an energy boost; the piece can work as an opener or closer, but will more often a special and unique moment for the middle of your show.

Breathless (SSATB Lv3.5) KerryMarsh.com Demo

Yebba penned “October Sky” as a tender tribute to her late mother, and this SSATB setting holds that vulnerability front-and-center. Scored only for piano and bass accompaniment (and fully-functional without bass as well), the texture stays exposed and fragile so every note lands with meaning. The soloist trades Yebba’s trademark melismatic phrases with the ensemble, which also provides richly voiced backgrounds at times. Everything is carefully notated, although your lyric soloist may find that diverting from the written lines will bring better personal phrasing at times. Harmonies are only slight deeper than the original, orchestrated with a variety of densities as you’ve come to expect from Kerry’s arranging approach. A fleeting cigarette reference has been swapped for and alternative text, keeping the chart festival-friendly without dulling its honesty.

Musically it’s a slow burn that demands both jazz chops and emotional maturity. Place it in the reflective ballad slot, bracketed by lighter tunes so the lyric can resonate. A gut-punch, yes, but one that teaches both restraint and full expressiveness, rewarding choirs willing to inhabit every moment of its wide range of storytelling power.

October Sky (SSATB Lv4.5) KerryMarsh.com

Adapted from Kurt Elling’s iconic rendition of Jaco Pastorius’ “Three Views of a Secret,” this SSATB chart surrounds a deeply expressive baritone soloist with guitar, piano, bass, and drums. The bass part is fully notated, while the piano chart uses slashes and chord symbols with two written passages. Elling’s own melodic phrasing is on the page, along with his sweeping vocalese created with Phil Galdston and inspired by Wayne Shorter’s solo on Weather Report’s 1980 “Night Passage.” After the head, an improv section invites either a vocal or instrumental solo; the demo features guitar, but any confident improviser can step in.

Pastorius’ harmony stays full of pleasant ambushes, yet the jazz-waltz groove quickly feels inevitable, underscoring the “three” motif running through both title and lyric. Singers will find themselves navigating dense colors one moment and transparent textures the next, all in service of a lyric that leans into mystery and transcendence. The chart requires mature ears and rhythmic poise, yet once it clicks, the journey feels organic and fresh at every turn. A decisive final tag provides the kind of payoff that makes for a knockout concert closer.

A Secret In Three Views (SSATB Lv5) 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

Karrin Allyson’s funky boogaloo “minor blues with a bridge” gets a vibrant SSATB treatment here from Jennifer Barnes, originally written for her UNT Jazz Singers (featured on the demo and Part Tracks). A lyric alto or soprano solo kicks things off and returns near the end, with open solo space for either singers or instrumentalists in between. Fully-notated piano, bass, and drums keep the groove locked in, with optional guitar and shaker parts adding some tasty color. Ensemble writing blends unison call-and-response across treble and bass clefs with occasional octave doubling for punch. The soli section is a highlight—showy without being unapproachable—and the clean, supportive background figures make rehearsal time efficient, especially with the stellar Part Tracks from UNT. Though the lyric may pine, the deep bluesy pocket and cheeky rhythmic swagger make it hard not to smile. Works anywhere in your set—opener, closer, or a mid-program groove injection.

Wish You Were Mine (SSATB Lv3.5) KerryMarsh.com Demo

A true reimagining of the timeless jazz classic! A blast of modal harmony from the vocals serves as a surprising intro before the tune moves into a unique driving groove in 3/2 meter that frames for the melody of the well-known jazz standard. The rhythm section (with fully notated piano and bass parts) features a syncopated ostinato in the piano, a specially-crafted pattern from the drums and an almost pointillistic, stabbing bass part, all coming together to create a fresh new perspective. The song is fully reharmonized in Kerry’s identifiable harmonic language, and the vocals are given loads of rich, ringing voicings that are a joy to sing. No lyric solos, so this one is a nice feature for group singing, although an improv section is supported by vocal backgrounds, which then lead into a brief but hip soli section. A full recap of the head makes this chart more accessible than your audience will likely notice, and a strong, surprising move in the coda helps this arrangement serve as a great set opener. 

Just Friends (SSATB Lv4) KerryMarsh.com Demo

Arranged by John Stafford II, “Feel” is a steamy collaboration between Jacob Collier and Lianne La Havas that appeared on Collier’s “Djesse, vol. 2”. The arrangement, edited by Kerry Marsh for a special release in this catalog, is faithful to the original recording while making adaptive part assignments to make an otherwise unattainable lush recording performable by a vocal jazz ensemble with at least four sopranos (two of them splitting to S2), two altos, two tenors and two basses, plus a soprano/alto soloist and an optional additional two alto voices for a brief trio moment. The chart is written in two SSATB choirs, and there is a good deal of SATB writing in each choir. A fully-notated keyboard part sounds great with a Rhodes patch but can be played on piano, and a fully-notated bass part and drums are also included. So…those are the logistical details…not too bad for an 11 to 13-singer group with the right voice parts covered. Artistically…the mood is as sensual as the name implies, and the lightly-swinging groove also features loose phrasing to create a deeply relaxed effect and tell a metaphorical story of a meaningful romantic encounter. Honestly, if you’ve got the performers for it, all that’s left is to hit “play” on the ScoreFlipper and be transported. 

Feel (SSATB+SSATB Lv4) KerryMarsh.com Demo

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

from "Vertical Voices: The Music of Maria Schneider" by Dollison and Marsh. Frank Kimbrough (piano), Ben Monder (guitar), Jay Anderson (bass), Clarence Penn (drums)

The "Pretty" Road - Dollison and Marsh

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

Emily

Light, fun Jamie Cullum tune
mixed notated/chord chart piano and bass, dr.

Mind Trick

Virtual Insanity

Quirky and popular Stevie Wonder classic
a capella

Don't You Worry 'Bout a Thing

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)

A choral/vocal jazz arrangement and adaptation of Bon Iver's haunting solo looping/autotune/vocoder piece. 

Woods (SSAATTBaB - L4) - KerryMarsh.com Demo

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".

In the Winelight, arr. Marsh

A 12/8 power-ballad written to feature a strong, soulful alto soloist. Originally composed by Christine Tavares-Mocha and premiered by her multi-DownBeat-winning Valencia High School 2 n' 4 vocal jazz group at the 2019 Jazz Education Network Conference, the lyric speaks of longing to reunite with a lost love, if even for a moment.

I'd Stop Time - (SSATB Lv 3)

A beautifully crafted song by the newgrass singer/songwriter Sarah Jarosz is set masterfully by David von Kampen, retaining the driving energy and uplifting nature of the original while bringing his unique voicing style and linear approach to the jazz choir. A male/female duet pops out of the texture briefly, but otherwise, the piece is written as an ensemble feature throughout. Well-notated rhythm section parts make this performable by a wide-range of ensembles. 
Fully-notated piano part, fully notated acoustic bass part combined with drums/percussion.

Green Lights - (SATB Lv 3)

Based on Cecile McLorin Salvant's stripped-down, lightly-swinging jazz waltz recording, this treble-voicing arrangement of the 1965 tune originally recorded by Aretha Franklin captures Cecile's brilliant phrasing and uses an approachable ensemble soli section in place of improv space and settles nicely back into the head out. No lyric solos are featured this time, either, making this a great piece on which to feature your SSAA group's ensemble singing skills throughout. Plenty of opportunity to work on swinging time-feel and phrasing with your singers, and a surely an enjoyable part of your set for your listeners!

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