Since U Been Gone (as performed in Pitch Perfect) (arr. Deke Sharon): TTBB Choral Octavo

Deke Sharon's arrangement captures the infectious swagger of the original while giving male voices genuine material to sing rather than padding out the texture. The Pitch Perfect connection means your singers already know this song well, which accelerates learning and raises their investment in nailing the arrangement. This is the kind of contemporary pop arrangement that keeps students engaged with choral music while challenging them musically.

Pure, unfiltered catharsis wrapped in a contemporary pop groove. The arrangement carries the original's defiant energy and self-assured attitude, built on crisp rhythmic foundations and vocal harmonies that feel both modern and satisfying.

Male or mixed voice choirs wanting contemporary material that feels fresh without sacrificing musical substance. Directors programming pop repertoire will find an arrangement that respects both the source material and ensemble capability. High school and college groups will respond to the pop sensibility while finding real musicianship demands.

• Prioritize rhythmic precision in the rhythmic hits and punctuations that define the groove; even slight rushing or dragging will undermine the arrangement's contemporary feel.
• Balance the lead line with supporting voices so the melody remains clear without requiring the soloist to oversing the ensemble.
• Let the swagger breathe rather than forcing intensity from the start; the song's power builds when you commit to the arrangement's dynamic arc.

Place this on a spring concert where you want to shift the energy and remind your audience that great pop songwriting belongs on the stage. It pairs naturally with other contemporary a cappella work or with pop arrangements by similar composers. Consider it a crowd pleaser that won't feel incongruous alongside more traditional selections.

• Rhythmic precision in contemporary pop idioms
• Balancing solo lines with ensemble harmony
• Sustaining energy and swagger through extended passages
• Intonation control in block harmony structures