ARRANGEMENTS FOR SATB VOCAL
JAZZ ENSEMBLE
+RHYTHM SECTION
ANDANTINO
“Written with traditional choirs in mind, this piece will work best with a conductor. Wordless vocal (humming, oo, oh and ah vowels) used to express Debussy's melody and harmonies. Solo rubato moments, and an added piano part supports the ensemble with subtlety.
"Lyric Solos" listed for this title are actually wordless, but we don't have a filter category for "notated wordless solos," which is a more accurate description for the solo moments in this chart, which are spread among all four voice parts.” -KM
BALTIMORE ORIOLE
“David von Kampen brings his trademark harmonic clarity and sensitivity to this arrangement of Baltimore Oriole, adapted loosely from Meredith d’Ambrosio’s dreamy version from her album Lost in His Arms. Set for SATB with rhythm section (mostly-notated piano, fully-notated bass, and drums), the chart opens with a rubato alto lyric solo, just voice and piano, drawing the listener in with a film-noir haze. From there, it settles into a slow swing or 12/8 groove, full of lush voicings and functional jazz harmony that will feel both classic and fresh. The vocal parts explore a wide range of textures—from close jazz voicings to more open, ensemble-driven moments—and while the soloistic phrasing might seem rhythmically tricky at first glance, it sings more naturally than it looks. The included demo, featuring Andrea von Kampen on the vocal solo, will go a long way in helping singers internalize that phrasing. There’s space carved out for vocal or instrumental improv. Perfect fit for the ballad slot in your set, especially if you’re looking to lean into a moody, cinematic vibe for a moment.” -KM
BORN AT THE RIGHT TIME
Underrated Paul Simon gem from his 1990 album “The Rhythm of the Saints.”
BREAKING UP IS HARD TO DO
“David von Kampen's arrangement of Neil Sedaka's "Breaking Up Is Hard to Do" captures the essence of Sedaka's later, slower version, trading the doo-wop bounce for a classic 12/8 ballad feel. This version is rich with four-part harmonies that beautifully weave through standard chord changes, making it a perfect piece for ensembles looking to highlight their harmonic blend. The arrangement's dynamics build in energy, offering two powerful and surprising interpretations of the lyric "I beg of you," which add a fresh emotional depth to the song. These moments are crafted to catch the audience off guard and enhance the narrative arc of the performance. Vocal backgrounds are thoughtfully arranged to support a solo section, which can feature a scat vocalist, a pianist or keyboard player, or even a guest horn player, offering flexibility in performance. Solo chord changes are provided for both B-flat and E-flat instruments, making this a versatile choice for showcasing your ensemble's soloists. This arrangement provides a refreshing take on a classic ballad, offering both ensemble challenge and individual spotlight opportunities. A perfect addition for any group looking to explore a well-loved song with a new twist.” -KM
CALIFORNIA DREAMIN’
“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.” - KM
COLOR THEORY II
“This SATB wordless vocal piece stands on its own, even if its nods to von Kampen’s 2021 Color Theory. It opens with a smartly crafted linear theme, moves into a solo section over that groove (scat or instrumental), and then shifts gears into a surprising second idea built from wide-open spread triads—kind of McFerrin-esque—and eventually circles back for a recap. It’s all very DVK: clean, economical vocal writing with unisons used intentionally, solid voice leading, and just enough harmonic spice to keep singers engaged. Fully-notated piano and bass parts with drums, and your drummer gets some space to shine, too. This one’s got a fresh, exploratory vibe—uplifting and energetic, but it winds down rather than building to a huge finish. Makes for a great opener or mid-set moment, or even a quiet-ish closer if that fits your program arc.” - KM
EXIT MUSIC (FOR A FILM)
“David von Kampen’s SATB setting of Radiohead’s “Exit Music (For A Film)” (inspired by Brad Mehldau’s version) balances dark, brooding mood with approachable choral writing—excellent voice-leading, smart use of unison and two-part textures, and no divisi. Includes a brief guitar improv section with vocal backgrounds. Subtle touches of jazz harmony enrich the original’s stark emotional impact. Scored for piano, guitar, bass, and drums. Best programmed in a “deep cut” mid-set or as a powerful second-to-last piece.” - KM
THE FIRST NOEL
SATB jazz arrangement with piano accompaniment. Big Band accompaniment also available.
GREEN LIGHTS
“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.” - KM
HEATHENS
“The edgy hit song from Twenty-One Pilots featured in the 2016 supervillains movie "Suicide Squad" is injected with von Kampen's savvy sense of reharmonization and texture changes. Very hip and surprisingly accessible due to good voice leading.” - KM
HOW AM I SUPPOSED TO LIVE WITHOUT YOU?
“David von Kampen takes the 1980s Michael Bolton megaballad and artfully makes it hip, honest, and emotionally grounded in this SATB arrangement with rhythm section (fully-notated piano and bass, plus drums). It’s got a steady, syncopated 16th-note groove driving it forward, but the emotional focus stays right on the lyric, which is delegated in some important spots to a soloist—ideally a soulful alto or high tenor who can lean into the drama. The vocal parts are thoughtfully written with accessible ranges and smart use of repetition, especially in the choruses, making it quicker to learn than you might expect. A brief coda section adds a new layer of harmony that feels fresh but respectful to the original, and dynamic shaping throughout helps tell the story with nuance and shape. There’s a brief improv moment—vocal or instrumental—that adds drive toward a classic modulation into a strong recap. Soulful, nostalgic, and just the right kind of earnest, it’s a perfect power ballad for the second-to-last spot in your set.” -KM
I GET ALONG WITHOUT YOU VERY WELL
“A stunning rubato a cappella arrangement of Hoagy Carmichael's classic standard. This piece, largely in four parts with a few Soprano 2 splits, emphasizes smooth voice-leading, yet still offers some delightful harmonic surprises, characteristic of von Kampen’s style. The bass section gets a standout feature moment, adding a beautiful contrast to the overall texture. This chart offers your ensemble the chance to consider the emotional depth of the lyrics and work on their dynamic range and musicality. The final chord includes an optional low C, perfect for groups with a capable bass singer, but it also works well with the 5th at the bottom. This classic holds a cherished spot in the Great American Songbook and has been a favorite among jazz musicians for decades. Programming this arrangement will not only showcase your group's talent but also pay homage to a timeless piece of jazz history. Perfect for ensembles looking to challenge their musical expressiveness and interpretation skills.” -KM
IF
“Arranged by David von Kampen, this a cappella arrangement of Bread's classic hit brings the tender and loving lyrics to life with simple yet beautiful pop ballad harmonies. Bread's original version captivated audiences with its heartfelt message, and this arrangement maintains that emotional impact, making it accessible for choirs with a wide range of experience levels. You'll find a variety of choral textures throughout, including a feature moment for the bass section and a soli group feature for sopranos and altos. There's also a brief solo spot for a tenor or bass singer, adding a personal touch to the performance. Though predominantly a cappella with very little divisi, a piano reduction is included for rehearsal purposes, ensuring a smooth and efficient practice process. Perfect for showcasing your ensemble's ability to convey emotion and storytelling, this chart is sure to resonate with both singers and audiences alike.” -KM
I’m Glad There is you
“Another beautiful and effective arrangement of a standard by David von Kampen! This chart is written SATB with no divisi and no solo features, making it a highly flexible ballad useable in a wide range of choirs and contemporary vocal groups. The lyric provides a simple but powerful message of love and gratitude, and von Kampen's setting does service to the original composition while offering a few subtle harmonic surprises that will bring goosebumps to the performers and listeners.” - KM
ORANGE AND BLUE
“A wonderfully veiled and inspiring lyric runs through this Sarah Jarosz song arranged by David von Kampen. The baritone split is brief, making the majority of the writing SATB, and the chart is highly approachable for many developing vocal jazz groups. Excellent and natural-sounding lyric phrasing makes the storytelling conversational and subtle throughout, and von Kampen's personal arranging style is present throughout in his artful use of harmonic tension matched with plenty of openness and some unison writing, as well as great fully-notated writing for the rhythm section. This understated arrangement will be very fulfilling for your group to perform.” - KM
OTOÑO
“David von Kampen's wordless arrangement of a beautiful Vince Mendoza composition in tribute to Autumn, featuring solo space for improvising vocalists or instrumentalists. The use of palmas (one or two people performing hand claps) and cajón (a "box" drum commonly used in modern jazz as its origin in Peruvian music, very useful for a cappella songs, in place of vocal percussion) produces a uniquely relaxed texture on which the vocalists sing Mendoza's legato, syncopated lines. The chord progression subtly drives the piece forward in what feels like a series of circular expressions. This will make a wonderfully artistic form of abstract expression for your ensemble!” - KM
PLAY BALL
Dave Frishberg’s simple homage to the great American pastime of baseball.
RECKONER
“David von Kampen's arrangement of the dark, moody Radiohead song from their album "In Rainbows" is a deliberate slow burn, leading to a climax late in the chart. Inspired by Robert Glasper's instrumental recording, and somewhat sparsely arranged, the voice parts wind around one another with long lines that come and go, occasionally revealing a subtly driving rhythm section underneath. No solo featured in this chart, so the ensemble takes the fore throughout, although a small sub-group is responsible for a late-emerging syncopated ostinato. The lyrics tell a shrouded story of a dreamer being awoken to face their reality.” - KM
RHIANNON
“Fans of the iconic Fleetwood Mac classic will instantly recognize David von Kampen's creative arrangement of "Rhiannon." While staying true to the spirit of Stevie Nicks' haunting original, von Kampen introduces clever reinventions, particularly in the choruses, bringing a fresh harmonic approach that will surprise and delight. The arrangement maintains ideal voice-leading, ensuring accessibility for a wide range of vocal jazz ensembles. Rather than relying on solo break-outs, this chart suggests a small soli group of SA vocalists to carry some of the melodic material when the full ensemble takes on a supportive role. This technique allows for a rich interplay of voices that highlights the arrangement's intricate harmonies. An open improvisation section offers flexibility, featuring vocalists and/or instrumentalists with a simple progression based primarily on a single scale, making it approachable yet open for creative expression. Given the enduring popularity of Fleetwood Mac and the song's mystical allure, this arrangement will captivate both high school and college vocal jazz groups, bringing a touch of rock history and contemporary jazz flair to any performance.” -KM
RYE WHISKEY
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.” -KM
SNOWBOUND
“A whimsical medium swing arrangement of the Dave Frishberg homage to the romantic upside to a snow day, this chart is accessible due to its generous use of unisons within S/A and T/B sections, accentuated by tasteful four-part jazz harmony. Frishberg's characteristic lyric brilliance captures a light-hearted spirit that blends perfectly with vocal jazz, and the rhythm section's role is creatively utilized to both support and enhance a heartwarming and relatable story.” -KM
THAT OLD FEELING
“A perfect medium-tempo swinging chart for your set! Inspired by Chet Baker's recording of the standard jazz tune, David von Kampen's arrangement is easy to sing, but with swinging, authentic phrasing throughout. The chart has no lyric solo features, but offers improv solo space for instrumentalists or vocalists, and an efficiently-written soli section is both achievable and musically effective.” - KM
THE TOURIST
“The dark and powerful Radiohead song from "OK Computer" is arranged here by David von Kampen for vocal jazz ensemble. Modern and edgy harmonies and an intensely emotional message, however, the vocal parts are singable for most high school and college groups. Guitar is recommended but optional, and electric piano would help the vibe as well.” - KM
TOYLAND
“David von Kampen’s ‘Toyland’ is a brief SSAATB a cappella “vignette” setting of the chorus from the Herbert/MacDonough classic, using signature harmonic colors to evoke a whimsical, fantastical atmosphere. Light treble divisi is used sparingly, with part-assignment guidance included. Features a mix of rubato and in-tempo moments, concluding with a wordless vocal epilogue. No solos. A lovely fit for Winter or Christmas programs—perfect for a ballad slot or a moment of quiet choral magic.” - KM
WARMTH OF THE SUN
(Available as SATB or TTBB)
“An a cappella mixed choir arrangement of the Beach Boys classic from the prolific multi-genre composer/arranger David von Kampen. The ensemble sings homophonically throughout, with no solos, making this chart a great crossover for traditional choirs as well as contemporary groups, and the rich harmony and a couple effective key changes and chord substitutions contribute to Brian Wilson's already beautiful harmony and soaring melodies.” - KM
YOU ARE THERE
“David von Kampen's arrangement of this Dave Frishberg/Johnny Mandel touching ballad is set simply and elegantly, featuring only piano with straight-forward and effective vocal parts. Briefly features a female lyric solo.” - KM