Take On Me (arr. Roger Emerson): SATBB Choral Octavo

Roger Emerson's arrangement captures what makes Pentatonix's version so magnetic: the counterpoint, the rhythmic drive, and the spacious vocal arrangements that let each section breathe. Your choir gets to inhabit a modern arrangement without sacrificing the harmonic richness or textural sophistication that comes with traditional SATB writing. This is the rare pop arrangement that feels earned rather than gimmicky.

Infectious energy wrapped in sophisticated voicing. The song carries its euphoric, synth-pop DNA into the choral setting, but the arrangement reveals new harmonic colors and rhythmic layers that emerge from live ensemble singing. There's a built-in joy to this piece that your singers will feel from the first rehearsal.

This works for choirs seeking contemporary repertoire that demands real musicianship. Your students likely know this song already, which creates an instant engagement hook, but Emerson's voicing requires careful listening and sectional discipline to execute well. It fits programs aimed at middle school through college ensembles.

• Treat the vocal percussion lines (if present in your edition) as rhythmic anchors. Even if you don't have a dedicated percussion voice, rhythmic precision in your articulation and diction will create the same propulsive feel.
• Balance the melody against the harmonic foundation. The Pentatonix recording emphasizes vocal blend in the supporting voices, which means your sopranos shouldn't overshadow the inner parts.
• Lock the phrasing by marking breath points collectively during rehearsal. Pop arrangements live or die by ensemble cohesion, and shared breathing patterns establish that immediately.
• Explore the recorded version not as a target to replicate, but as a reference for tone color and stylistic intention. Your arrangement will breathe differently based on your ensemble's strengths.

Place this alongside other contemporary pop or rock arrangements for a "now" concert, or use it to open a program and immediately capture audience attention. The 23 pages indicate a substantial arrangement, so give it rehearsal weight equivalent to a small classical work. It also serves beautifully as a final festival piece or as a showcase for what your choir sounds like outside the traditional classical repertoire.

• Layering independent rhythmic lines while maintaining ensemble unity
• Listening across all four parts to achieve vocal blend in a contemporary style
• Interpreting articulation and diction as rhythmic and stylistic tools
• Sight reading within pop and rock harmonic language
• Balancing soloist/melody presentation with ensemble contribution