Festival Deck the Hall Cover Image

Festival Deck the Hall: SSATB, <I>a cappella</I> Choral Octavo

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Festival Deck the Hall Cover Image

Festival Deck the Hall: SSATB, a cappella Choral Octavo

Arr. Jay Althouse

Item: 00-20168

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Description
A fresh and contemporary a cappella approach to a traditional carol. Jay Althouse has added wonderful new rhythms and harmonies, and has added a completely unique "fa la la" section reminiscent of a Swingle Singers arrangement. The first part of each phrase is true to the original carol; it's the "fa la la's" which take off in a whirlwind of choral excitement. Original, exceptional...and your singers will love it!

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Festival Deck the Hall: SSATB, a cappella Choral Octavo comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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Additional Details
Series: Alfred Archive Edition: Alfred Choral Designs
Publisher: Alfred Music
Page Count: 8
UPC: 038081187327
SKU: 00-20168

More about this title

About the Arranger: Jay Althouse

Jay Althouse

Jay Althouse studied Music Education and Music at Indiana University of Pennsylvania, where he later received the Distinguished Alumni award. His career in music publishing gave him eight years of experience in rights and licensing, during which he served on the Executive Board of the Music Publishers Association of America. As a composer, he has created over 800 choral works performed internationally and holds membership in ASCAP, earning the organization's Special Award multiple times for his compositions.

Beyond choral composition, Althouse has collaborated with his wife Sally K. Albrecht on children's musicals and co-authored widely adopted resources including The Complete Choral Warm-up Book and Accent on Composers. He compiled and edited vocal solo collections such as Folk Songs for Solo Singers and authored classroom materials for music literacy and composer study. In 2009, his collaboration with Albrecht on I Hear America Singing was performed by the San Francisco Girls and Boys Choirs at President Obama's Inauguration. Althouse resides in North Carolina and serves on the National Advisory Board of the Folk Art Society of America.

Why we love this

Althouse takes a centuries-old carol and infuses it with contemporary energy without sacrificing the melody your singers already know. The Swingle Singers-inspired "fa la la" section transforms what could be predictable into something genuinely exciting, and the rhythmic complexity sits at exactly the right difficulty level for groups who want to sound polished at festivals. Your singers will leave rehearsal thrilled that they tackled something fresh and challenging.

What to expect

The first phrase anchors you in familiar territory, warm and recognizable. Then the "fa la la's" explode into motion, with intricate rhythmic play dancing across all four voices in overlapping patterns reminiscent of vocal jazz and pop arranging. The result is joyful and technically engaging, with enough textural variety to keep listeners on their toes.

Who it's for

SATB choirs with solid blend and rhythmic security who want a contest or festival piece that sounds contemporary without abandoning tradition. This arrangement rewards singers who love to dig into unexpected harmonies and rhythmic challenges while keeping the emotional core of the carol intact.

How to get the most out of it

  • Isolate the "fa la la" sections in early rehearsals so all four voices lock the rhythmic patterns before adding them to the full arrangement. The whirlwind effect depends on precision, not speed.
  • Balance the traditional opening phrase against the contemporary harmonies that follow. Let the familiar melody breathe in its original form so the contrast lands harder when the arrangement takes off.
  • Shape each phrase with dynamic arc rather than singing straight through. The rhythmic activity needs space to breathe between phrases, or it will exhaust both singers and listeners.
  • Consider how much vibrato works for your choir. A cappella work at this energy level often benefits from a lighter, more unified vibrato than your normal sound.

How to use it

Program this for a winter concert or holiday festival where you want to show off both your singers' musicality and their technical chops. It pairs well with either a traditional, straightforward carol (to highlight the contrast) or other contemporary holiday arrangements that share its energy and harmonic sophistication.

Skills your students will build

  • Rhythmic independence and precision in all four voices simultaneously
  • Reading and performing complex a cappella harmonies with accurate intonation
  • Balancing contrasting musical ideas within a single arrangement
  • Singing rhythmic patterns across phrase boundaries without losing vowel unity

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