Hodie: A Christmas Fanfare: SAB Choral Octavo

Althouse anchors this arrangement in something genuinely old (a 14th-century German melody) while giving it modern harmonic movement and contemporary choral writing that holds singers' attention. The combination of block chord writing, unison passages, and rising modulations creates natural energy without requiring extended ranges or complex rhythms, making it genuinely accessible for SAB ensembles while still sounding substantial on stage.

The piece opens with architectural clarity, block chords creating a sense of formality and reverence rooted in the medieval melody. As it unfolds, rising modulations and fuller harmonic writing bring brightness and forward motion, creating a fanfare quality that feels both festive and grounded in liturgical tradition.

This works for SAB choirs of intermediate ability who want holiday repertoire with musical substance. Directors seeking a piece that bridges ancient hymnody and contemporary choral sound will find both accessibility and depth here.

• Shape the opening block chords with clear articulation and unified vowel production; treat them as structural statements rather than sustained pads.
• Use the rising modulations as narrative momentum rather than mere transposition. Each shift should feel like the piece is ascending toward something, not just repeating.
• If you add the brass SoundPax parts, keep the choral blend intact by balancing vocal energy with instrumental support rather than letting instruments dominate.

This pairs naturally with other sacred or traditional Christmas repertoire, particularly where you want to avoid overly sentimental arrangements. It works equally well as a concert centerpiece or as a processional opener, and the optional brass parts make it flexible depending on your ensemble resources and concert setting.

• Singing in three-part SAB voicing with independent melodic lines
• Sustaining pitch through block chord changes
• Navigating rising modulations by ear and maintaining intonation during key shifts
• Balancing unison and part singing within a single piece
• Blending with optional instrumental parts (if using SoundPax)