Easy On Me (arr. Larry Moore)

Larry Moore captures something essential here: the bluesy swagger of Adele's original without requiring advanced string technique from your players. Strings playing current pop hits create instant engagement with students who stream these songs constantly, and this arrangement respects both the source material and your ensemble's readiness.

The arrangement carries Adele's introspective vulnerability while letting strings add warmth and sophistication to what was originally a sparse pop production. You get the emotional directness of the original song without any sense of oversimplification; instead, the string writing enriches it.

String quartets and small string ensembles at the intermediate level who want contemporary repertoire that connects with their students' musical lives. Directors seeking programming that bridges the classical ensemble with popular music literacy.

• Shape the syncopations deliberately rather than rushing them. These rhythmic pushes create the song's character, so anchor them against a solid pulse rather than letting them feel accidental.
• Balance the melody line so it can breathe through the accompaniment. String players often default to matching volume; remind them that this is a vocal vehicle, and the supporting parts exist in a lighter dynamic space.
• Treat the bluesy inflections as compositional choices, not performance indulgences. A slight bend or retard at specific moments serves the arrangement, but consistent wavering undermines its structure.
• Record a run-through and listen for rhythmic alignment in the syncopated figures. Ensemble accuracy here makes the difference between polished and sloppy.

Insert this into a concert exploring how orchestral instruments interpret contemporary songwriting, or pair it with other Moore arrangements if you're building a pop showcase for an ensemble concert. It also works beautifully as a chamber complement to more traditional classical works, offering audience members a familiar emotional anchor.

• Executing syncopated rhythmic figures with precision and intentionality
• Balancing independent melodic lines within homophonic texture
• Sustaining phrase shape across rests and accompaniment figures
• Applying bluesy articulation and inflection to contemporary repertoire
• Reading and responding to dynamic markings that establish hierarchy between parts