The Little Drummer Boy: SAB Choral Octavo
Words and music by Katherine Davis, Henry Onorati, and Harry Simeone / arr. Bryan Sharpe
Item: 00-PO-0007533
Minimum order quantity: 20 copies
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Description
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More about this title
About the Composer: Katherine Davis
Katherine Davis composed "The Little Drummer Boy" with Henry Onorati and Harry Simeone in 1941, creating one of the most enduring Christmas songs in the American canon. The piece has been recorded hundreds of times across genres and generations, cementing Davis's place as a significant voice in 20th-century sacred music. Her gift for melody and emotional directness made her work accessible to performers and audiences at every level, from professional choirs to school groups.
Why we love this
Bryan Sharpe's arrangement respects the song's iconic simplicity while giving it genuine energy through rhythmic drive and smart accompaniment choices. The "rum pum" ostinato grounds the piece immediately, and the layered approach to the melody (introduced, echoed, then harmonized) creates natural arc and keeps singers engaged. Optional percussion parts add color without complicating the vocal writing, making this a standout choice for holiday programming at any skill level.
What to expect
The piece opens with understated rhythmic character before the familiar melody arrives like a warm memory. The arrangement grows richer as voices layer in, building toward moments of genuine fullness while maintaining the song's gentle, earnest quality.
Who it's for
This arrangement works for choirs of varied experience levels who want to sing a beloved Christmas standard with fresh musicality. Community choirs, church choirs, school groups, and non-auditioned ensembles all find success with SAB voicing and straightforward but engaging writing.
How to get the most out of it
- Lock the steady pulse of the "rum pum" ostinato in early rehearsals. Once the rhythm section feels secure, the entire piece gains coherence.
- Shape the melody entrance in the soprano line so it emerges clearly from the accompaniment rather than competing with it.
- Balance the decorative flourishes in the piano part; they should enhance momentum without overwhelming the singers.
- If adding the optional percussion, rehearse drum and timpani separately first, then layer them in gradually during full rehearsals.
How to use it
This works beautifully as an anchor piece in a holiday concert, positioned where its emotional warmth and instant recognizability settle the audience. Pair it with more contemporary carols or seasonal pieces to balance a program that honors tradition alongside fresh interpretations.
Skills your students will build
- Singing SAB voicing with clear part independence
- Maintaining rhythmic precision against a driven accompaniment pattern
- Layering ensemble sound (from melody alone to full harmony) with consistency
- Responding to stylistic variation (ostinato, echo, harmonization) within a single piece