A Still, Silent Night Cover Image

A Still, Silent Night: SATB Choral Octavo

$1.85 USD
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A Still, Silent Night Cover Image
A Still, Silent Night: SATB Choral Octavo

A Still, Silent Night: SATB Choral Octavo

Austrian Carols / arr., with new words, by Sally K. Albrecht

Item: 00-41734
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Description
This serene pairing of "Still, Still, Still" and "Silent Night" will be a quick learn during your busiest time of year. Occasional counterpoint is scattered among traditional harmonies to create a lovely and luscious mini-medley. Equally appropriate for school and church, and for singers of any age.

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Additional Details
Series: Alfred Choral Designs
Publisher: Alfred Music
Page Count: 8
UPC: 038081468143
SKU: 00-41734

More about this title

About the Arranger: Sally K. Albrecht

Sally K. Albrecht

Sally K. Albrecht has shaped American choral music for over four decades as a composer, arranger, conductor, and educator. Since 1987, she has received annual ASCAP Special Music Awards and has published more than 600 choral works alongside 75 larger songbooks and musicals. Her conducting has led honor choirs at premier venues including Lincoln Center, Carnegie Hall, and The Kennedy Center, and she spent over 30 years directing school choral and vocal publications for major educational publishers, including her tenure at Alfred Music.

Albrecht earned her B.A. in Music and Theater from Rollins College in 1976, followed by an M.A. in Drama and an M.M. in Accompanying from the University of Miami. She has taught at Oakland University, Jersey City State College, and Meredith College. Her contributions to music education and leadership have been recognized with the Distinguished Alumna Award from both the University of Miami Frost School of Music and Rollins College, where she serves on the Board of Trustees. She resides in Wake Forest, North Carolina.

Why we love this

Albrecht's gift for blending two beloved carols without overshadowing either one makes this a refreshing alternative to the standard holiday repertoire. The strategic use of counterpoint lifts the arrangement beyond simple four-part harmony, giving singers engaging material that sounds richer than its modest eight-page length would suggest. Your choir will sound polished and thoughtful after minimal rehearsal time, leaving room to prepare other winter repertoire.

What to expect

The arrangement settles into a peaceful, reverent space that honors both carols' meditative character. Moments of gentle counterpoint add dimension and warmth without breaking the contemplative mood, creating the feeling of a quiet evening reflection rather than festive celebration.

Who it's for

This octavo works equally well in school choirs of middle school age and up, church choirs of any experience level, and community ensembles. Any SATB-capable group seeking a Christmas piece that combines familiarity with subtle musical sophistication will find it reliable and rewarding.

How to get the most out of it

  • Balance the counterpoint passages carefully during rehearsal by isolating each voice line separately, then bringing parts together gradually so singers hear how their melody interacts with others.
  • The pairing of familiar melodies allows you to focus rehearsal energy on clean diction and blend; mark any spots where part independence stands out and practice those sections with the recorded accompaniment available separately.
  • Shape each carol's phrasing independently within the medley structure; avoid letting the transition between them blur the identity of either tune.

How to use it

Position this in a Christmas concert or holiday service where you want to shift into a more introspective section, perhaps following livelier seasonal material. Its brevity and quick learning curve make it valuable during heavy rehearsal schedules in November and December, yet its musical substance ensures it stands respectfully alongside more elaborate festive works.

Skills your students will build

  • Balancing independent melodic lines within choral texture
  • Phrase shaping within a medley structure
  • Diction clarity in homophonic and contrapuntal passages
  • Singing familiar melodies in new harmonic contexts

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