Count on Me: SATB a cappella Choral Octavo
Recorded by Bruno Mars
Words and music by Philip Lawrence, Ari Levine, and Bruno Mars / arr. Andy Beck
Item: 00-PO-0005793
Minimum order quantity: 20 copies
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Description
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More about this title
About the Composer: Philip Lawrence
Philip Lawrence co-wrote "Count on Me" alongside Bruno Mars and Ari Levine for Mars's 2010 debut album Doo-Wops & Hooligans. Lawrence has established himself as a songwriter and producer working across pop and R&B, contributing to numerous charting tracks. His work demonstrates a gift for memorable melodies and accessible songwriting that translates naturally to ensemble settings.
Why we love this
This arrangement captures the warmth and simplicity that made the original a cultural touchstone, while giving your choir genuine flexibility in performance. The optional instrumentation (piano, ukulele, or guitar) means you can perform it anywhere from a graduation ceremony to an informal spring concert, and the a cappella option opens up possibilities for smaller groups or spontaneous performances. Sopranos carry a melody singers actually want to sing, while the supporting parts build harmonic texture without demanding virtuosity.
What to expect
Genuine and unhurried. The piece has the familiar warmth of a friendship anthem, built on simple harmonic language and the kind of melody that sticks without feeling contrived. There's a contemporary pop sensibility in the vocal arrangement—stylized backgrounds and groove-based rhythms—that grounds it in the original while honoring choral traditions.
Who it's for
Directors looking for a contemporary piece that feels both current and singable for mixed choirs at the high school or community level. This works well for groups seeking repertoire that connects with singers' lived musical experience without sacrificing legitimate harmonic writing.
How to get the most out of it
- Establish the groove first. Even without accompaniment, the backing vocal lines have a rhythmic pocket that needs clarity; work on these parts as a section before layering the soprano melody.
- Shape the harmonic lines with dynamic contrast. The supporting parts aren't just filler. They deserve musical phrasing that complements rather than competes with the melody.
- If using recorded accompaniment, have singers listen to it separately before rehearsal so they can anticipate harmonic and rhythmic entrances.
- Keep the tempo conversational and warm. This song thrives on intimacy, not driving energy. A comfortable tempo lets the text land naturally.
How to use it
Place this on a graduation or spring concert where it can anchor a set of contemporary popular music alongside other modern arrangements. The accessibility and emotional directness also make it an excellent opening piece for a concert, establishing an approachable tone before moving into more demanding repertoire. Its occasion-agnostic nature means it fits comfortably in almost any secular concert context.
Skills your students will build
- Singing contemporary pop arrangements with stylized backing vocal techniques
- Maintaining rhythmic independence in a groove-based harmonic setting
- Balancing melody-driven texture where supporting parts carry equal musical weight
- Performing with optional accompaniment or a cappella
- Text clarity and phrasing in a contemporary idiom