Angels We Have Heard on High: SATB Choral Octavo
Arr. Philip Kern
Item: 00-PO-0002220
$3.50
Minimum order quantity: 20 copies
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Description
Feature two outstanding accompanists at the piano with this exceptional arrangement of the favorite Christmas carol, "Angels We Have Heard on High." From its rhythmic opening, through the fresh a cappella section, to its spectacular finish, you'll marvel at Philip Kern's energized arrangement. Full, contemporary choral singing in every voicing. A full-sounding SoundTrax CD featuring the 4-hand piano part is also available.
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Additional Details
Series:
Alfred Archive Edition: Alfred Choral Designs
Publisher:
Alfred Music
Page Count:
20
SKU:
00-PO-0002220
More about this title
About the Arranger: Philip Kern
Philip Kern is a prolific composer and arranger whose work spans choral music, instrumental arrangements, and contemporary sacred compositions. His arrangements are known for respecting the integrity of familiar melodies while infusing them with fresh harmonic language and accessible yet sophisticated voicings that challenge singers without overwhelming them.
Why we love this
Kern's arrangement captures what makes this carol endure: the soaring melody we all know, but wrapped in genuine musicianship. The shift from rhythmic, ensemble-driven accompaniment into an a cappella moment gives your singers a chance to shine without instrumental support, and the final section builds with real architectural purpose rather than simply reprising what came before.
What to expect
The piece opens with infectious rhythmic energy at the piano, pulling you immediately into contemporary choral sound. When the voices drop away into unaccompanied singing, the intimacy is striking; then the return to full accompaniment and the spectacular finish feel earned rather than expected.
Who it's for
SATB choirs at the intermediate to advanced level who want a Christmas offering that moves beyond simple arrangements. This works equally well for church choirs seeking substantive seasonal music and school or community ensembles looking to program something familiar that doesn't sound like every other version.
How to get the most out of it
- Balance the four-hand piano part so the rhythmic drive supports rather than dominates the choir; this works best when both pianists understand they're serving the vocal line.
- Shape the a cappella section with intentional breath placement and dynamic control. Without accompaniment, every gesture becomes visible.
- Lock the entrance after the a cappella section precisely. The return to full sound needs confidence from all four voice parts to land the impact Kern built into this moment.
- Use the recorded accompaniment as a learning tool during sectional rehearsals, but encourage singers to internalize the harmonic movement early so they own the sound rather than follow.
How to use it
Anchor a Christmas concert's second half with this arrangement, or use it as the opener to establish a fresh, energized tone. It works well alongside more traditional sacred settings because Kern's rhythmic vitality reads as modern without abandoning the carol's reverent core.
Skills your students will build
- Singing a cappella with blend and intonation
- Rhythmic coordination between choir and complex accompaniment
- Dynamic shaping in four-part voicings
- Entrance precision after sustained unaccompanied sections
- Contemporary harmonic listening and placement