Thinking Out Loud (arr. Ed Lojeski): SAB Choral Octavo

Ed Lojeski's arrangement respects the intimate warmth of the original while opening it up for three-part voices. The SAB voicing sits naturally for mixed ensembles without requiring soloists to carry the emotional load alone; instead, the whole group gets to inhabit this tender love song together. That shared ownership makes the performance feel earned rather than borrowed from a pop recording.

Warm and unhurried, like someone confessing something important in a quiet room. The arrangement preserves the original's conversational tone; Sheeran's lyrics about commitment feel less like grand declarations and more like honest admissions shared among trusted voices. There's space to breathe and room for genuine emotion without the need for stylistic exaggeration.

This arrangement reaches singers in grades 9-12 and adult choirs who connect with contemporary song but want the legitimacy and discipline of choral singing. It works equally well for groups tackling pop arrangements for the first time and experienced ensembles looking to expand their programming beyond traditional classical or show music.

• Treat the dynamic curve like a slow breath. This isn't a song that sits at one volume level; shape phrases to rise into moments of declaration and settle back into vulnerability.
• Balance the middle voice carefully. The alto line often carries harmonic information that anchors the other two parts, so clarity here prevents the arrangement from sounding muddy even at softer dynamics.
• Let the text drive your phrasing rather than the bar lines. Sheeran's lyrical phrasing often sits across barlines, so rehearse without imposing choppy attacks at measure boundaries.
• Consider subtle movement or staging. A song about intimate connection can benefit from slight repositioning or even hand placement that signals the emotional arc without becoming theatrical.

Build a concert segment around relationships, commitment, or contemporary love songs by pairing this with work from other modern songwriters or traditional standards on similar themes. It also serves as a gateway piece for students skeptical about singing "classical" music, positioned as proof that choral singing encompasses the songs that matter to them. Spring concerts, pops events, or chapel services centered on community all provide natural homes for this piece.

• Singing in three-part harmony with SAB voicing
• Interpreting contemporary song in an arranged choral context
• Shaping long phrases with careful dynamic control
• Balancing individual voice parts while maintaining ensemble blend
• Understanding how original pop production translates to acoustic choral forces