Jolene (feat. Dolly Parton) (arr. Mark Brymer): SSA Choral Octavo

Mark Brymer's SSA setting captures the raw emotional pull of this Dolly Parton classic while opening it to mixed intermediate choirs. The arrangement respects the song's yearning vulnerability while using three-part writing to create that signature Pentatonix richness; your singers will feel the weight of the plea without drowning in complexity.

Intimate and confessional. The arrangement wraps listeners in close harmonies that feel almost like an overheard conversation rather than a grand choral statement. There's a folk quality underneath the modern pop production, making it feel both timeless and immediate.

This works best for SSA or SSAA choirs at the intermediate level who want to tackle a recognizable, emotionally mature song without excessive difficulty. It fits programs aiming for contemporary pop repertoire that still commands respect from a concert audience.

• Let the melody breathe in the opening section. Resist the urge to rush; this song demands space and sincerity to land emotionally.
• Balance the lower voices carefully so they support rather than overshadow the top line. SSA voicing requires deliberate attention to blend across the range.
• Study how the harmony shifts through the bridge. Small dynamic adjustments there can highlight the emotional arc without requiring technical flourishes.
• Record a scratch vocal track early in rehearsal so singers can hear how all three parts fit together. Pentatonix arrangements reward listening to the full texture.

Place this as a second or third selection in a concert focused on American songwriting or contemporary favorites; it pairs naturally with other country or folk-influenced pieces. The emotional directness also makes it a strong closing number for a shorter concert set.

• Balancing independent vocal lines in close harmony
• Sustaining emotional expression through understatement rather than volume
• Reading SSA voicing and understanding how the three parts create harmonic color
• Interpreting rubato and phrasing in contemporary arrangements of standards