Count On Me (arr. Janet Day) Sheet Music Preview

Count On Me (arr. Janet Day): 2-Part Choral Octavo

By Bruno Mars / By Ari Levine / By Philip Lawrence / Arranged by Janet Day

Item: 35-DS00232827

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Publisher: Hal Leonard
Page Count: 7
SKU: 35-DS00232827

More about this title

About the Composer: Bruno Mars

Bruno Mars emerged in the early 2010s as a pop virtuoso with an ear for infectious melodies and meticulously crafted production. His songwriting draws from a deep well of musical influences, from Motown to classic rock, giving his work both contemporary appeal and structural sophistication. For music educators, Mars represents a bridge between the pop music students know and the harmonic and melodic craftsmanship worth studying in a choral context.

As a performer and producer, Mars demonstrates the value of precision, intentional arrangement, and respect for vocal line. His collaborative songwriting approach (evident in credits like Ari Levine and Philip Lawrence) models how modern pop music is built through ensemble creativity rather than solo genius. These are lessons that apply directly to the rehearsal room.

Why we love this

This arrangement captures what makes the original so compelling: a simple, memorable melody paired with genuine emotional directness. Janet Day's adaptation respects the pop idiom while keeping the writing accessible for developing singers, making it a rare pop arrangement that doesn't condescend or oversimplify. Your singers will recognize the song immediately, invest in performing it, and emerge with cleaner part independence and better intonation work.

What to expect

There's a gentle confidence in this piece, a sense of quiet reassurance. The harmony sits comfortably in the middle range, creating warmth without weight, and the melody unfolds with the unhurried phrasing of someone speaking from the heart rather than performing.

Who it's for

Choirs with 1-2 years of ensemble experience can navigate this arrangement confidently. It works especially well for groups building concert programs that need contemporary material with integrity, or for singers who respond better to repertoire they recognize outside rehearsal.

How to get the most out of it

  • Center the tune on the natural warmth of the lower voices in part two; they're not a bass line, they're singers carrying the melody's harmonic foundation
  • Keep the diction clean and conversational rather than theatrical; this song lives in intimacy, not grandeur
  • Shape the phrase arc by listening for where the harmony shifts, not where the text breaks

How to use it

Pair this with a mix of classical or jazz standards to show range while honoring your singers' musical lives outside the concert hall. It works beautifully as a warm, accessible opener for a program, or as a palate cleanser between heavier works. Consider it as the bridge between what your choir sings in rehearsal and what they sing in the car.

Skills your students will build

  • Singing parallel thirds and harmonic intervals with intonation accuracy
  • Maintaining musical phrase shape across longer melodic lines
  • Blending vocal tone between part one and part two
  • Applying contemporary pop diction to ensemble singing
  • Understanding how modern songwriting differs from classical voice leading

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