Agua de Beber (Water to Drink) (arr. Sam Burns): SSAATTBB Choral Octavo

Sam Burns captures the languid sophistication of this Jobim classic in an arrangement that respects the original's elegance while giving eight-part voices meaningful work. The voicing sits comfortably for mixed choirs and never veers into gratuitous complexity, which means your singers can focus on the rhythmic precision and harmonic lushness that make bossa nova sing.

Agua de Beber moves with the easy sophistication of a Rio de Janeiro afternoon. The melody floats over rich, shifting harmonies, and the eight-part texture creates a warmth that feels both contemporary and timeless, with enough space for each voice to breathe.

This works beautifully for intermediate to advanced choirs comfortable with jazz vocabulary and Latin rhythms. It's an excellent choice for groups looking to expand beyond standard pop or show arrangements into the jazz repertoire without requiring instrumental accompaniment.

• Let the rhythm section anchor the groove; the voices should sit inside that pocket rather than rush the tempo or push ahead of the written rhythm.
• Balance the solos and soli passages carefully so they breathe without getting lost in the texture of the full ensemble.
• Pay attention to the Latin vowel shaping, especially on the title phrase, to capture the character of the original recording.
• Experiment with light swing and subtle syncopation in the sustained sections; straight rhythms will flatten the bossa nova feel.

Pair this with other Brazilian or Latin jazz standards to create a thematic concert segment, or use it as an opener that immediately establishes a cosmopolitan, jazz-inflected tone for your program. It also serves as a wonderful teaching piece mid-season when your ensemble has developed ensemble security and is ready to tackle stylistic nuance.

• Reading jazz and bossa nova rhythmic vocabulary (syncopation, swing feel, Latin clave patterns)
• Balancing eight-part harmonic texture with independence in each voice
• Stylistic interpretation of Brazilian music (phrasing, vowel placement, rhythmic placement)
• Listening for and locking into a groove-based harmonic progression