SKU: A0.856195

This hit by Duffy was written in 2008, but its sound world evokes music of 40 years previous to that. Its bassline makes explicit reference to Ben E King's 'Stand By Me', while its harmonic riffs and melodic styling have been compared to songs by The Supremes and Aretha Franklin.

The arrangement was commissioned by Young Women in Harmony, and keeps all the parts in the centre of the voice so as not to strain young ranges. This results in a tight , bright sound that captures the feel of original's Hammond organ. It also uses a variety of texture - from full unisons, to duets, to full four-part harmony - so is much more suited to chorus than quartet.

N.B. This arrangement is notated in treble and bass alta (i.e. sung an octave higher than written) clefs.

Vocal Ranges:

Tenor: B flat 3 - D flat 5
Lead: B flat 3 - D flat 5
Bari: B flat 3 - B flat 4
Bass: A flat 3 - F4

SKU: A0.856230

This song lives on the cusp of Second Wave Feminism. Its lyrics portray a woman fighting to maintain her pride in a neglectful, if not outright abusive, relationship, although it remains, at this stage, still essentially masochistic. She berates, but - in the lyrics at least - does not challenge. The iconic performances from the late 1960s (Erma Franklin, Janis Joplin, Dusty Springfield), though, tell a different story. Anger is erupting into the voices: the personal is poised to become overtly political.

The arrangement sets the narrative verses in a melody-and-accompaniment texture, with the harmony parts largely on vocables to let the story through, then builds up to a primarily homophonic texture with everyone participating in the lyrics for the declarative mode of the choruses. It is built to chart a wide dynamic range, charting the emotional range of the original.

N.B. This arrangement is notated in treble and bass alta (i.e. sung an octave higher than written) clefs.

Vocal Ranges: