Audrey Snyder is a prolific arranger whose work appears regularly in school and community choirs across North America. She has developed a reputation for creating accessible yet musically satisfying arrangements that honor the integrity of source material while opening it to singers of varied experience levels.
Why we love this
Snyder's medley approach gives you a substantial Baroque program without asking your singers to learn entirely separate pieces. The arrangement balances musical substance with genuine accessibility, so your intermediate choir can sound sophisticated without months of rehearsal.
What to expect
The Baroque idiom brings a bright, elegant character to these familiar Christmas melodies. You'll find ornamentation and harmonic sophistication woven throughout, creating an arrangement that feels both celebratory and refined.
Who it's for
This works beautifully for intermediate to advanced high school choirs and community ensembles looking to program Baroque music with confidence. It also suits college and church choirs seeking a festive, cohesive holiday offering that doesn't require extensive rehearsal time.
How to get the most out of it
Shape the phrasing in each section of the medley as though it were its own complete piece. This prevents the arrangement from feeling like a parade of tunes and gives each moment breathing room.
Maintain clarity in the inner voices, particularly in the soprano and alto lines, to let the counterpoint emerge naturally rather than rely on over-projection from the tenors and basses.
Use the transitions between medley sections as opportunities for subtle tempo adjustments. A slight breath or momentary ritardando can signal a new musical idea without losing forward momentum.
How to use it
Consider this for a winter concert where you want to anchor the first half with something substantial yet audience-friendly. The medley format makes it an ideal closer before intermission, or pair it with a contemporary or secular set to showcase your choir's range.
Skills your students will build
Singing counterpoint and independent inner voice lines
Articulating Baroque phrasing and ornamentation
Navigating harmonic complexity within an accessible harmonic language
Maintaining ensemble cohesion across multiple thematic sections
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