I'm Not The Only One (arr. Frank de Vreeze) Sheet Music Preview

I'm Not The Only One (arr. Frank de Vreeze): SSAATB Choral Octavo

As performed by Sam Smith / Arranged by Frank de Vreeze

Item: 35-DS00502484

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Additional Details
Publisher: Hal Leonard
Page Count: 119
SKU: 35-DS00502484

More about this title

About the Artist: Sam Smith

Sam Smith emerged as one of the defining voices of contemporary pop ballardry, known for emotionally direct songwriting that strips away production excess in favor of raw vocal performance. His work across multiple albums has established him as a master of intimate storytelling, with songs that translate effectively across genres and ensemble settings.

Why we love this

Frank de Vreeze's arrangement captures the aching vulnerability of this song while making it genuinely singable for mixed choirs at multiple levels. The SSA/SSAA voicing keeps the texture lean and focused, letting the emotional weight of the lyric carry the performance without requiring advanced technical demands.

What to expect

A quiet confrontation. The arrangement likely preserves the song's sparse, conversational quality, where each voice becomes essential to the emotional architecture. Singing this requires restraint and presence in equal measure.

Who it's for

Choirs seeking contemporary material that doesn't demand virtuosity but does demand emotional maturity from singers. This works for high school and community ensembles that want a recognizable song their audiences will connect with instantly.

How to get the most out of it

  • Shape the phrase endings with intentional breath placement; Smith's original phrasing often sits behind the beat, so resist the urge to cut off notes early.
  • Balance the upper voices carefully in the harmony sections. The arrangement likely uses sustained tones that need to stay present without overwhelming the melody line.
  • Work with your singers on text clarity first, then add warmth. The lyrics demand emotional specificity, and diction becomes the vehicle for that.
  • Check whether the recorded accompaniment includes a click or full mix; if full mix, rehearse without it frequently so singers own the phrasing.

How to use it

Consider pairing this with other contemporary ballads in a set focused on storytelling and introspection, or use it as a concert closer where the audience leaves with something memorable and moving. It's also effective as a feature piece for a smaller chamber ensemble pulled from your larger choir.

Skills your students will build

  • Phrasing control in ballad styles, particularly handling of rubato and strategic breath placement
  • Blend and balance in sustained harmonic writing
  • Emotional communication through restrained, expressive vocal production
  • Reading mixed meters common to contemporary pop arrangements

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