Pompeii (arr. Jacob Narverud): SATB Choral Octavo

Bastille's 'Pompeii' gives choirs access to a contemporary song that listeners actually know and care about, built on a hypnotic groove that translates beautifully to voices in four parts. Jacob Narverud's arrangement respects the song's melodic core while creating genuine harmonic interest, so your singers stay engaged rather than merely doubling a synth line. Programming a current indie rock hit alongside classical repertoire signals to students that choir sings real music from the world they inhabit.

Propulsive and hypnotic, with the kind of earworm quality that lingers after rehearsal ends. The arrangement maintains the original's atmospheric tension while creating space for voices to shine, landing somewhere between a pop production and a contemporary concert work.

Choirs seeking repertoire that bridges the gap between popular music and serious vocal arranging. Directors building programs around themes of time, history, or contemporary song, or looking to engage students through music they've heard on streaming services and radio.

• Nail the rhythmic precision early. The 'eh, eh, eh' figures that drive the song's energy need locked attack and release across all sections, or the arrangement loses its propulsive quality.
• Layer the accompanying voices thoughtfully. Unlike a live band where synths sit in a defined frequency range, your choir fills that space, so balance the soloists against harmonic support without letting either disappear.
• Shape the dynamics to match the recorded version's arc. The song builds gradually from sparse to lush, and your interpretation should mirror that trajectory rather than staying at one volume.
• Commit to the modern vowel quality. This song lives in contemporary pop space, not classical tradition, so bright, forward vowels will serve the material far better than rounded classical tone.

Pair this with other contemporary arrangements or use it as a concert opener that immediately connects with audiences and performers alike. The nine pages and mid-range difficulty make it manageable for groups with mixed experience, fitting well into spring concerts or programs exploring 21st-century songwriting.

• Rhythmic precision in syncopated, groove-based patterns
• Part independence while maintaining cohesive harmonic support
• Contemporary vocal production and style differentiation from classical technique
• Dynamic shaping across an ensemble to create architectural growth
• Musicality in modern pop and rock idioms