Only When I Sleep (arr. Martin Cornelissen): SATB Choral Octavo

Martin Cornelissen's arrangement captures the wistful, layered quality of the original while making it genuinely singable across four voices. The piece gives choirs a sophisticated pop selection with real emotional substance, not a novelty number, and the octavo length suggests room for interesting vocal interplay without overwhelming rehearsal time.

The arrangement inhabits that quiet space between waking and dreaming, where introspection becomes almost visible. Layered vocal lines create an intimate, almost conversational quality, with moments of subtle beauty that reward careful listening.

Choirs seeking contemporary material that doesn't sacrifice musicality for accessibility. High school and college ensembles benefit from the vocal demands and emotional maturity the piece requires, while community choirs appreciate a recognizable melody with genuine artistic substance.

• Balance the texture carefully in the opening phrases; soprano and alto lines should breathe independently rather than blur together, even when singing in unison or octaves.
• Treat the arrangement's quieter moments with intention. Choirs often rush soft passages out of uncertainty, but stillness and control serve the song's introspective character.
• Coordinate vowel shapes across the section parts. Unified resonance on sustained chords transforms the harmonic landscape from functional to atmospheric.
• Shape longer phrases with subtle dynamic arcs rather than holding one dynamic throughout. This prevents fatigue and reflects how the melody naturally inhales and exhales.

This works beautifully on a concert that mixes classical and contemporary work, especially when you want to signal that your choir engages modern music seriously. It also serves well as a lighter moment within a program of heavier choral literature, or as an opener that immediately connects with audiences through a familiar melody.

• Blending distinct vocal lines into unified harmonies
• Sustaining emotional expression across longer phrase arcs
• Singing pop-influenced material with classical vocal technique
• Navigating contemporary harmonic language
• Ensemble balance and listening across four parts