Poker Face (arr. Stefan Flugel): SATB Choral Octavo

Stefan Flugel's arrangement captures the hypnotic pulse and defiant attitude of the original without sacrificing vocal integrity or singability. SATB choirs rarely get material this engaging and rhythmically current, making it an effective tool for connecting with singers who live in contemporary music while maintaining legitimate four-part writing.

Direct and propulsive, with a controlled intensity that builds from introspection into something defiant and powerful. The arrangement balances the original's electronic sleekness with the warmth of human voices, creating moments of stark simplicity alongside rich harmonic textures.

Directors looking to program contemporary pop material that challenges singers musically and holds their engagement. High school and college choirs with stylistic range and students who respond to repertoire that lives in their actual musical world.

• Establish the groove early in rehearsal by having the rhythm section (or piano reduction) anchor the syncopated rhythmic figures before bringing in the full choir; this prevents the arrangement from feeling rushed or dragging.
• Layer the parts gradually during sectional work so sopranos and altos grasp their independence before the full harmonic texture locks in.
• Treat the dynamics with intention; the quiet, spoken or half-voiced passages require as much focus as the belt sections to maintain the song's arc and theatrical impact.
• Consider adding minimal staging or movement that reflects the song's assertive character without overwhelming the harmonic sophistication Flugel has written.

Pair this with other contemporary secular choral works to frame a full concert block devoted to modern songwriting, or use it as a standalone feature that bridges classical and pop-influenced audiences. It works especially well as a concert closer that sends singers and listeners out on a confident, driving energy.

• Rhythmic precision in syncopated pop idioms
• Maintaining independence in four-part writing over a steady groove
• Dynamic control across a wide range from whispered to full voice
• Stylistic authenticity when performing contemporary arranged material