Pulled (from The Addams Family) (arr. Ed Lojeski): SAB Choral Octavo

Lojeski captures the darkly comedic energy of this number without overcomplicating the SAB texture, which means your singers can focus on character and articulation rather than navigating treacherous voice leading. The arrangement honors what makes the song distinctive while sitting comfortably across a mixed three-part range, making it genuinely singable for developing ensembles.

Wickedly fun and theatrical, with the kind of wry humor that translates instantly to an audience. The arrangement maintains the original's macabre-meets-playful tone while staying true to the spirit of the source material.

Choirs of all levels looking for contemporary, character-driven material that doesn't require advanced vocal ranges or complicated voice leading. This works particularly well for concert programs that blend musical theater with other repertoire, or for groups seeking a showstopper with comedic appeal.

• Lock in the rhythmic precision of the comic rhythms early. This piece thrives on crisp articulation and rhythmic snap, so spend rehearsal time on the relationship between the accompaniment and the vocal line rather than waiting for polish in final rehearsals.
• Shape the phrase contours with dynamic awareness. The humor in this arrangement relies partly on dynamic contrast, so resist the urge to keep the volume constant even in comedic passages.
• Coordinate the SAB sections on any divisi moments or rhythmic unisons to ensure clean attacks and releases. Small vocal groups benefit from precise ensemble work in these passages.

This sits naturally alongside other Broadway selections in a diverse concert, or as a standalone showcase number that demonstrates your ensemble's ability to balance comedy with musical quality. It's equally at home in a spring concert or as a Halloween-themed opener.

• Articulation and rhythmic precision in comedic musical theater contexts
• Dynamic shaping within a theatrical framework
• Ensemble coordination in SAB voicing with divisi passages
• Character projection and comedic timing through singing