Walking On The Moon Sheet Music Preview

Walking On The Moon: SATB Choral Octavo

By Sting / As performed by The Police / Arranged by Philip Lawson

Item: 35-DS00086220

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Additional Details
Publisher: Hal Leonard
Page Count: 14
SKU: 35-DS00086220

More about this title

About the Composer: Sting

Sting emerged from Newcastle as the bassist and primary songwriter of The Police, one of rock's most influential bands of the 1970s and 80s. His compositional voice blends reggae and rock sensibilities with sophisticated harmonic thinking, creating songs that work equally well in stripped-down acoustic settings or arena productions. As a solo artist, he has explored world music, classical collaboration, and theatrical work, establishing himself as a composer who writes memorable melodies that reward careful arrangement.

Why we love this

Philip Lawson's arrangement captures the weightless float of the original without losing the track's reggae pocket. The a cappella voicing strips away production effects and forces singers to find the tune's inherent groove, making this a genuinely fun piece that students connect to immediately because they know the song.

What to expect

Weightless and buoyant, with a hypnotic reggae swing that makes the piece feel easier than it is. There's a dreamy, almost ethereal quality beneath the groove, as if the singers are genuinely floating above the stage.

Who it's for

Choirs looking for a contemporary piece that audiences recognize and students enjoy singing. This works for high school, college, and community ensembles with solid reading skills and comfort with pop idioms.

How to get the most out of it

  • Let the rhythm section (Tenor and Bass lines) establish the reggae lilt first; once they lock into that swing, the Soprano and Alto melodies will sit naturally above it.
  • The solo spotlight moments demand clear diction and confident vibrato control. Have the featured singer practice with the body mic mindset: projection comes from breath support, not volume.
  • Find the space in the arrangement. Sting's original thrives on air and syncopation, not density. Resist the urge to blend voices into a thick sound; instead, keep each part visible and let the reggae rhythm do the heavy lifting.
  • Tape the recorded accompaniment and use it sparingly during rehearsal. Learn the piece without it first so the choir can own the groove internally.

How to use it

Use this as a closer on a pop or contemporary concert, or pair it with other accessible Sting arrangements to create a rock-influenced set. It works as a refreshing contrast on a program of classical or standard repertoire, signaling that your ensemble sings music people actually listen to.

Skills your students will build

  • Singing accurate rhythmic syncopation within a reggae feel
  • Maintaining a consistent groove while singing moving melodic lines
  • Balancing solo-friendly passages with ensemble unity
  • Diction clarity in a contemporary pop style

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