Christmas a la Fa La La: SATB a cappella Choral Octavo

Althouse has crafted a piece that delivers genuine novelty while remaining accessible to choirs of varying levels. The concept of weaving beloved carol moments into a "fa la la" texture keeps audiences in familiar musical territory while the clever harmonic twist near the end rewards careful listening and adds unexpected depth.

Lighthearted and spirited, the piece bounces along on its "fa la la" foundation while rewarding listeners with musical "aha" moments as familiar melodies surface. When the "Hallelujah Chorus" emerges near the end, the mood shifts from playful merriment to genuine celebration, creating a satisfying musical arc.

This octavo works for intermediate to advanced SATB choirs seeking holiday material that entertains both singers and audiences. It suits school choirs, community ensembles, and church choirs looking to program something with personality beyond standard carols.

• Let the "fa la la" syllables flow naturally without over-articulating; these sections should feel conversational and light, allowing the underlying melodic references to shine through without forcing them.
• Identify the specific carol quotes with your singers before rehearsal begins. When they know which melodies are embedded in the texture, their phrasing and blend improve dramatically.
• Balance soprano and alto lines carefully during the carol quotations. These voices often carry the recognizable material, so they need enough presence without drowning out the harmonic foundation provided by tenor and bass.
• If using the optional keyboard accompaniment, ensure the pianist understands that the "fa la la" sections should maintain rhythmic vitality. The accompaniment lifts the piece without overshadowing the voices.

This works beautifully as a closing piece for a holiday concert, where its festive energy and clever concept provide a memorable final impression. It also fits well in the middle of a longer choral program, offering a palette cleanser between more serious sacred works or traditional carols.

• Blending multiple melodic references within a single texture
• Maintaining clarity and rhythmic precision in syllabic, text-driven sections
• Listening vertically to harmonic support while singing individually styled lines
• Recognizing and performing embedded musical quotations accurately