The Little Drummer Boy / Peace on Earth: TTBB Choral Octavo
The Little Drummer Boy - Words and music by Harry Simeone, Henry Onorati, and Katherine Davis; Peace on Earth - Words by Alan Kohan, music by Larry Grossman and Ian Fraser / arr. Jay Althouse
Item: 00-PO-0001115
Minimum order quantity: 20 copies
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More about this title
About the Composer: Harry Simeone
Harry Simeone was an American conductor and composer who became famous for his innovative choral arrangements that brought together unexpected musical elements. His work on "The Little Drummer Boy / Peace on Earth" demonstrates his gift for counterpoint and his ability to create arrangements that resonate with both singers and audiences across generations.
Why we love this
This arrangement transcends typical holiday fare by layering two melodies into a sophisticated counterpoint that feels effortless to sing. Your singers will discover why the Bowie-Crosby duet captured so much attention; the overlapping narratives create genuine musical interest rather than relying on novelty alone.
What to expect
The piece captures something almost cinematic: the innocent narrative of a child's gift meeting the broader message of universal peace. Sung well, it creates a moment of real emotional weight without becoming heavy or overwrought, leaving your audience satisfied and the season properly honored.
Who it's for
This arrangement suits TTBB ensembles of intermediate to advanced ability. Holiday pops concerts benefit enormously from this piece, which gives your singers a chance to showcase musicianship while delivering a piece audiences genuinely want to hear.
How to get the most out of it
- Balance the two melodic lines carefully during the overlap sections; neither voice should disappear, even though one may feel more prominent in the moment.
- Mark the transitions between sections in your score so singers understand when their melodic focus shifts or when they support another voice.
- The recorded accompaniment anchors the harmonic foundation, allowing your singers to commit fully to the counterpoint without worrying about staying with the band.
- Rehearse the ending together multiple times; it's the payoff moment where both melodies converge, and precision here rewards all your preparation work.
How to use it
Place this in the second half of your holiday concert, after you've established your ensemble's range. It works as a centerpiece that allows other novelty pieces or shorter selections to orbit around it, giving your program narrative shape and musical substance.
Skills your students will build
- Singing independent melodic lines within a counterpoint texture
- Maintaining rhythmic precision across overlapping phrases
- Balancing volume between two equally important vocal lines
- Interpreting two distinct musical narratives simultaneously