The full main catalog of featured charts at KerryMarsh.com, all in one place for easy access, and organized alphabetically in case you know what tune you're looking for already.

Main Catalog

...and by pop, it could be Michael Jackson, Ben Folds, Radiohead, Bjork, Imogen Heap, Sting, or many others.  

Pop Tunes

New for 2025-26

Composer(s) -- Jamie Cullum
Arranger -- Matthew Chalmers
Voicing (with percentage of divisi measures) -- SSA
Measures -- 87
Level -- 2 (Starter Series)
Accompaniment -- Fully-notated piano and bass parts, drums
Original/Reference Artist -- Jamie Cullum
Performance Time -- 3:58
Meter/Tempo -- 4/4 @ 90
Solos -- S/A lyric: 35 bars
Style Notes -- Pop, funky swing 16ths
Arrangement Features -- Bridge builds to big final chorus
Suggested programming role(s) -- Any role may work
Range Extremes -- Sop: Eb5
Lyric Summary -- about feeling lost and adrift in life, using sea imagery to express uncertainty and a desire for simplicity and authenticity over the complexities and superficialities of modern life.
Demo Credits -- Soprano/Alto: Julia Dollison, Piano/bass programming: Kerry Marsh, Drums: Matthew Chalmers
Commission Credit -- Carson Graham Vocal Jazz (BC), Frank Lee, dir.
Release Year -- 2023

All At Sea (SSA - L2) STARTER SERIES - KerryMarsh.com Demo

Composer(s) -- Jamie Cullum
Arranger -- Matthew Chalmers
Voicing (with percentage of divisi measures) -- SAB
Measures -- 87
Level -- 2 (Starter Series)
Accompaniment -- Fully-notated piano and bass parts, drums
Original/Reference Artist -- Jamie Cullum
Performance Time -- 3:58
Meter/Tempo -- 4/4 @ 90
Solos -- T/B lyric: 18 bars, S/A lyric: 21 bars
Style Notes -- Pop, funky swing 16ths
Arrangement Features -- Bridge builds to big final chorus
Suggested programming role(s) -- Any role may work
Range Extremes -- Sop: Eb5
Lyric Summary -- about feeling lost and adrift in life, using sea imagery to express uncertainty and a desire for simplicity and authenticity over the complexities and superficialities of modern life.
Demo Credits -- Soprano/Alto: Julia Dollison, Baritone and piano/bass programming: Kerry Marsh, Drums: Matthew Chalmers
Commission Credit -- Carson Graham Vocal Jazz (BC), Frank Lee, dir.
Release Year -- 2023

All At Sea (SAB - L2) STARTER SERIES - KerryMarsh.com Demo

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 brand new accompanied version of Jamiroquai’s “Virtual Insanity” brings fresh life to one of our most popular early-2000s charts. Part of the “Refreshed” series, this update includes fully-notated piano, bass and drums parts while retaining all the slick harmony, bounce, and groove that made Kerry’s original version a favorite among students and directors. Still built around a super danceable shuffle-funk groove, the chart includes the iconic, jazz-inspired 7-bar verse progression and layered, syncopated ensemble rhythms. A soprano/alto soloist carries the lyric, with two spots for a breakout S/A soli group in the texture and space for vocal improv solos (open to any voice part) in the middle and at the end. Altogether, this is a hard-grooving, crowd-pleasing tune that disguises its darker lyrical undertones behind infectious rhythm and vibe. Great as an opener, closer, or anywhere in your set—it’s a guaranteed audience-mover, and now it’s easier than ever to put together with your group.

Fully-notated piano, bass and drums

Virtual Insanity "Refreshed" (Accompanied) (SATB Lv 4) - 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

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

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

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

Simon Åkesson's arrangement of the Whitney Houston hit from her 1985 debut album, as sung by the international aca super-group Accent is edited here to work beautifully for mixed vocal jazz ensembles.  This demo recording performed by Julia Dollison and Kerry Marsh.

Low notes below low E-flat are all written with an optional upper octave with alternate notes for the baritone to compensate, when needed.

All At Once (SSATBaB - L4) - KerryMarsh.com Demo

The Joni Mitchell classic as arranged by Vince Mendoza for the hauntingly beautiful album "Both Sides Now", adapted for vocal jazz as a big solo feature with lush, but attainable diatonic ensemble backgrounds.

https://www.kerrymarsh.com/collections/main-catalog/products/a-case-of-you-ssatbab-l4

A Case of You (SSAATB - L4) - KerryMarsh.com Demo

The pop hit from Five For Fighting gets a the vocal jazz treatment here, with varying grooves, reharmonization, and solos for both male and female singers. The arrangement builds energy throughout before making a soft landing in the last few bars.

https://www.kerrymarsh.com/collections/main-catalog/products/copy-of-whisper-your-name-ssatb-l4

100 Years (SSATBaB - L3.5) - 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