Christmas Comes But Once a Year: SAB Choral Octavo
Words and music by Jay Althouse
Item: 00-PO-0005968
$2.05
Minimum order quantity: 20 copies
Pickup currently not available
Related Items
Christmas Comes But Once a Year: SATB Choral Octavo |
$2.05
|
View | |
Christmas Comes But Once a Year: SSA Choral Octavo |
$2.05
|
View | |
Christmas Comes But Once a Year: SATB Choral Octavo |
$2.05
|
View | |
Christmas Comes But Once a Year: SAB Choral Octavo |
$2.05
|
View | |
Christmas Comes But Once a Year: SSA Choral Octavo |
$2.05
|
View |
Description
Optional drum and tambourine parts enhance this madrigal-influenced tune, which includes a festive “Fa-la-la” section in counterpoint. Well-crafted vocal parts are easy to learn and continue to develop as the song unfolds. This would make a festive processional for holiday performances of any kind.
Christmas Comes But Once a Year: SAB Choral Octavo isn't in MakeMusic Cloud just yet...but it could be. Let us know you'd like to see it, and you'll help shape what comes next. In the meantime, start a free trial and dive into thousands of interactive titles your students can play along with today.
Request This Title
Tell us you want it.
Start Your Free Trial
Explore everything that's ready to play right now.
Sample Audio
1
Audio File
--:--
0:00
0:00
Sample Video
No sample videos found.
Additional Details
Series:
Alfred Choral Designs
Publisher:
Alfred Music
Page Count:
12
SKU:
00-PO-0005968
More about this title
About the Composer: Jay Althouse
Jay Althouse holds degrees in Music Education and Music from Indiana University of Pennsylvania, where he was later honored with the Distinguished Alumni award. His career spans both publishing and composition; he spent eight years managing rights and licenses for a major educational music publisher and served on the Executive Board of the Music Publishers Association of America. As a composer, he has over 800 choral works in print across all skill levels, performed regularly throughout English-speaking countries.
Althouse is a writer member of ASCAP and a consistent recipient of the ASCAP Special Award for his contributions to standard music composition. Beyond his choral output, he has co-written children's musicals with his wife Sally K. Albrecht, compiled vocal solo collections including Folk Songs for Solo Singers, and authored influential resources such as The Complete Choral Warm-up Book and Accent on Composers. His work I Hear America Singing, created with Albrecht, was performed by the San Francisco Girls and Boys Choirs at President Obama's inauguration in 2009. Currently based in Wake Forest, North Carolina, he serves on the National Advisory Board of the Folk Art Society of America.
Why we love this
Althouse writes with a genuine understanding of what intermediate mixed choirs need: parts that sound sophisticated without demanding vocal acrobatics. The madrigal framework gives this piece authenticity and charm, while the optional percussion and contrapuntal "Fa-la-la" section add layers of festive energy that singers genuinely enjoy discovering as they rehearse it.
What to expect
A spirited, carol-like celebration that balances Renaissance sensibility with contemporary approachability. The madrigal style brings harmonic richness and contrapuntal play, while the "Fa-la-la" sections spark genuine joy and a sense of communal festivity that audiences recognize immediately as holiday music done well.
Who it's for
Intermediate mixed choirs looking for holiday repertoire that feels both accessible and musically substantial. Directors programming Christmas concerts, winter assemblies, or other festive occasions will find singers eager to learn parts that develop in complexity without overwhelming SAB voicing.
How to get the most out of it
- Balance the counterpoint in the "Fa-la-la" section carefully; the melody should remain clear while the lower parts create harmonic depth rather than competing for attention.
- Incorporate the optional drum and tambourine parts to build energy in the final sections; even if you don't have percussionists, consider assigning these parts to singers who drop out momentarily.
- Shape the piece as a processional by using dynamic contrast and tempo flexibility rather than strict metronomic precision; this style suits entrance or recessional staging.
- Take rehearsal time to drill the text clarity on "Fa-la-la" passages so the playfulness lands without sounding sloppy.
How to use it
Position this as a processional opener or closer for a holiday concert, particularly if you want to establish a warm, ensemble-centered tone early. It pairs well alongside more serious Christmas repertoire, offering variety without tonal whiplash, and works equally well in secular and sacred programming contexts.
Skills your students will build
- Reading SAB voicing and managing independent lines within mixed choir texture
- Singing counterpoint, specifically parallel harmonic movement in the "Fa-la-la" section
- Text articulation and rhythmic clarity on repeated syllables and joyful outbursts
- Ensemble blend and balance when optional percussion parts add rhythmic texture