So Many Stars (arr. Emily Crocker) Sheet Music Preview

So Many Stars (arr. Emily Crocker): SATB Choral Octavo

As performed by Sergio Mendes Brasil '66 / Arranged by Emily Crocker

Item: 35-DS01747254

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Additional Details
Publisher: Hal Leonard
Page Count: 10
SKU: 35-DS01747254

More about this title

About the Artist: Sergio Mendes Brasil '66

Sergio Mendes Brasil '66 emerged in the 1960s as a pivotal figure in bringing Brazilian music to international audiences. The ensemble blended samba rhythms, jazz harmonies, and pop sensibilities into a sound that felt both sophisticated and immediately accessible, making them essential architects of the bossa nova crossover into mainstream American music.

Their approach to arrangement and orchestration influenced how vocalists and arrangers understood the marriage of Latin percussion with jazz voicing. For choral directors, their catalog represents a masterclass in how groove and harmonic complexity can coexist without sacrificing singability or joy.

Why we love this

Emily Crocker's arrangement strips away none of the bossa nova swagger that made the original a standard, but recasts it for four-part voices in ways that feel natural rather than forced. The voicing opens up genuine ensemble singing opportunities while preserving the sophisticated harmonies that made this tune endure in the jazz repertoire.

What to expect

Warm, sophisticated, and gently swinging. The piece wraps around you like a late-night lounge setting, all smooth harmonies and sophisticated melody. Despite its elegance, it never feels precious or overly arranged; it invites the singers to own the romance of the tune.

Who it's for

Choirs with jazz repertoire experience or strong pop/standard sensibilities will find this approachable and rewarding. It works equally well for collegiate ensembles, community choirs, or high school groups ready to move beyond concert spirituals into the American songbook.

How to get the most out of it

  • Balance the rhythm section implied in the voicing by letting soloists breathe through their lines while the ensemble holds steady underneath.
  • Lean into the rubato suggested by the bossa nova rhythm; it's less metronomic than pop and more conversational than classical.
  • Layer dynamics gradually through the form rather than jumping between loud and soft, allowing the natural ebb and flow of the melody to guide expression.
  • Encourage vowel consistency across the ensemble on sustained chords, where the blended sonority matters more than individual articulation.

How to use it

Pair this with other standards or jazz-inflected repertoire for a concert that showcases your choir's versatility beyond classical traditions. It's an ideal encore or closing piece for a pops concert, and it reads fresh enough to audiences that it doesn't require explanation or apology.

Skills your students will build

  • Voice leading through jazz chord extensions and substitutions
  • Maintaining rhythmic independence while supporting bossa nova groove
  • Sustaining a lyrical line against syncopated harmonic movement
  • Balancing blend and tuning across diatonic and chromatic harmony

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