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

Deke Sharon's arrangement captures the infectious momentum of the Pitch Perfect version while remaining accessible for SATB ensembles without gimmicky overdubs or vocal percussion dependencies. The chart lands in that sweet spot where pop sensibility meets genuine choral craft, giving singers a contemporary piece that doesn't feel condescending to their abilities.

Confidence wrapped in a propulsive beat. The song channels cathartic release and hard-won clarity, with moments of vulnerability tucked beneath the driving energy. You feel simultaneously empowered and unguarded, exactly as intended.

Choirs seeking contemporary material that feels genuinely singable and relevant to younger singers will find immediate payoff here. Directors programming pop music alongside art song repertoire can lean on this arrangement's craft and harmonic sophistication to bridge both worlds.

• Lock the rhythmic pocket early in rehearsal; this tune thrives on groove and precision, not rubato. The locked-in energy is what makes the defiance land.
• Balance the soloists against the ensemble so the lead vocal cuts through without drowning the harmonic colors. Sharon's arrangement deserves both clarity and fullness.
• Lean into the attitude without overselling it. Let the song's inherent swagger breathe; pushing too hard undermines the sophistication of the writing.
• Pay attention to the vowel shaping in the unison passages. Uniformity here strengthens the punch when the harmony parts enter.

This works as an encore piece, a standalone pop showcase, or the closing number of a concert centered on contemporary hits. Its 8-page length and moderate difficulty make it ideal for building programming confidence in groups ready to move beyond traditional showstoppers into arranged pop material that still reads as substantial.

• Rhythmic precision in contemporary pop idioms
• Navigating a lead vocal line while maintaining ensemble cohesion
• Dynamic control across full chord voicings
• Stylistically appropriate articulation and phrasing in pop contexts
• Balancing solo and ensemble textures in a cappella settings