Nobody Like U (from Turning Red) (arr. Deke Sharon): SATB Choral Octavo

Deke Sharon's arrangement captures the infectious energy of the film's boy band without sacrificing blend or balance. The writing sits comfortably for mixed voices while maintaining the pop-forward groove that makes this song irresistible to students, ensuring your choir stays engaged throughout rehearsals and performances.

Youthful exuberance meets polished production. The arrangement radiates the kind of infectious confidence you hear in the film's boy band fantasy, complete with contemporary rhythmic grooves and pop sensibilities that feel modern without being trendy.

This arrangement works beautifully for high school and community choirs looking to program contemporary film music with genuine artistic substance. It appeals to singers who connect with current pop culture while offering directors a vehicle for teaching clean intonation and rhythmic precision in a genre students genuinely want to perform.

• Establish the rhythmic pocket early by having rhythm section voices (basses, baritones) lock in the foundational groove before layering upper voices; this prevents the arrangement from feeling loose or oversinging.
• Pay attention to vowel consistency across the choir when moving between sustained notes and rhythmic passages; vowel shape shifts are where pop arrangements often lose their cohesion.
• Balance the solo moments with ensemble textures carefully; soloists should shine without overpowering the background voices, which are essential to the modern pop sound.

Include this as a crowd-pleasing centerpiece in a concert celebrating Disney's contemporary film catalog, or pair it with other pop arrangements to create a themed set that demonstrates your choir's stylistic range. The 11-page length and modern appeal make it ideal for a spring concert seeking to attract younger audiences and families.

• Rhythmic precision in contemporary pop grooves
• Blend and balance in layered vocal textures
• Sustained intonation across sustained notes and dynamic shifts
• Interpretation of solo and ensemble roles within a single piece
• A cappella ensemble coordination and blend