This is Kerry Marsh and Julia Dollison's SSA arrangement of Billie Eilish's devastatingly beautiful "What Was I Made For?" from the movie "Barbie" (2023). Careful voice-leading makes this arrangement highly approachable and singable, while there is plenty of room for more advanced choirs to add subtle nuances to their performances to delivery a touching story.

What Was I Made For (SSA Level 2 Starter Series) KerryMarsh.com Demo

A newly re-arranged version of my classic chart on Imogen Heap's "Hide and Seek", with a new demo, SkyTracks Mixer, Vocal Part Tracks and Minus-One Tracks available for the first time!

Hide And Seek (2023 Version) KerryMarsh.com Demo

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

New demo (August 2024) with Julia Dollison on Soprano/Alto! Also added to SkyTracks Mixer, Vocal Part Tracks and Minus-One Tracks.

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Jacob Collier's glorious finale to his epic four-album "Djesse" collection is available for the first time for choirs everywhere to perform!

This setting begins in four parts and builds over the course of six minutes to sixteen parts, carefully organized and laid out in open score (with rehearsal piano reduction), and with dynamic markings capturing the expression of the recorded performance on Djesse: Vol. 4 by The Aeolians from Oakwood University (conducted by Jason Max Ferdinand). The maximum is SSSSSAAAAATTTBBB, with the staves laid out as S1a/b, S2, S3a/b, A1a/b, A2a/b, A3, T1/2, T3/B1, B2/3. The use of "a/b" divisi is due to the fact that the those parts only go to divisi for a new chords at the end of the piece. There is also plenty of part-doubling throughout the arrangement, and this has been carefully considered to aid both balance and voice-leading, although the former is given priority.

Collier pulls no punches emotionally or technically with this piece, which features Bass 3 singing C2 in a few places and Soprano 1 singing D6 in the final moments. Choirs without the lowest bass notes can safely omit them and sing the Bass 2 parts instead.

RANGES:
S1a: F3-D6
S1b: F3-B5
S2: F3-Bb5
S3a: F3-G5
S3b: F3-G5
A1a: G3-Gb5
A1b: G3-Gb5
A2a: G3-Eb5
A2b: G3-Eb5
A3: G3-Eb5
T1: C3-Bb4
T2: C3-Bb4
T3: C3-G4
B1: Eb3-D4
B2: Eb3-C4
B3: Bb2-C4

World, O World (16-Part Mixed Choir - L4) - KerryMarsh.com Demo

Written by Dodie, a singer/songwriter who gained popularity through her YouTube channel, this a cappella arrangement captures the essence of her minimalist ukulele playing and the more sustained pads found in the original song. Instead of break-out solos, lead lines are woven into ensemble sections, creating a cohesive and immersive sound.

Commissioned by an excellent a cappella group which happened to lack a low bass vocalist, this chart features a bass part that never dips below a B in the staff. However, bass singers can adapt the part to showcase their lower range by taking some sections down an octave. The choruses feature some reharmonization, introducing a taste of jazz harmony and moving away momentarily from the original's pedal point reliance.
Dodie’s ending section with layered vocal parts is perfect for this genre, building up and then winding back down for a cool finish. A clapping part is included, which can be performed by vocalists using mic stands or by rhythm section members. 

The song’s heavy subject matter offers students a chance to tackle mature themes in their musical storytelling, making it a unique and standout piece for your program. This arrangement not only stays true to Dodie's style but also adds new dimensions to challenge and inspire your ensemble.

Guiltless (SSATB L3) 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

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

Composed by the Canadian Celtic singer Loreena McKennitt, "Mummers' Dance" has its roots in a centuries old tradition in which a roving band of costumed actors travels and puts on performances for people throughout the land. McKennitt's lyrics speak of the beautiful natural settings in which these mummers would live and work, and the musical landscape is matched perfectly in this arrangement, featuring both sustained and open sounds and exotic melismatic figures that would normally be played by period instruments. This arrangement features a break-out treble-clef soloist, with some modern reharmonization included to employ the vocal jazz aesthetic, and a polyphonic, wordless development section increases the energy of the piece before it winds down at the end, as if the mummers have moved on to travel to the next village.&nbsp;

Mummers' Dance (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

Starter Series! Also available in SATB Voicing!

An accessible and fun samba arrangement of the classic song from the Great American Songbook by Jule Syne and Sammy Cahn. A solo chorus for singers and/or instrumentalists is followed by a cool additive section that gives this arrangement its own flavor. 

Time After Time (SAB)

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)

NEW VOICING FOR FALL 2016! Bob Dorough's classic jazz standard is arranged in a swinging style for mixed 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 (SSATB L4)

KMVJ edition demo performed by Julia Dollison and Kerry Marsh. 

Sam Robson, the UK's phenomenal young arranger and a member of an elite class of YouTube's vocal harmony specialists that includes Jacob Collier and Accent, has made his Earth-shatteringly gorgeous arrangement of "One Day I'll Fly Away" available now through KerryMarsh.com. Dramatically paced and driving to a powerful finish, the arrangement is sure to give your audience goosebumps and some tears. Edited for publication by Kerry Marsh, this version has a more reachable bass range than Robson's original recording, although it still lands on a D-flat in one spot, and uses an E-flat in another. The notation is laid out such that a persistent melody part often weaves in between the other SSA parts, helping choirs to clarify the melody in this thick-textured writing. Dollison and Marsh have rerecorded the arrangement with these and a few other practical edits, also allowing for Part Tracks and Minus-One tracks.

One Day I'll Fly Away, arr. Sam Robson - KMVJ 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

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

Emily

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

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 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

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)

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

Virtual Insanity, arr. Marsh

April in Paris, arr. Marsh

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)

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

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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