In December: 2-Part Choral Octavo

Althouse builds genuine emotional weight from a simple, inclusive concept. The choice to center the candle as a shared symbol across Chanukah, Christmas, and Kwanzaa gives your choir meaningful material to explore without requiring religious affiliation from any singer. The melody itself carries the weight; paired with thoughtful harmony, it feels both accessible and substantial enough to resonate with audiences.

The piece lives in quiet reverence. The melody unfolds with a minor-key pensiveness that mirrors candlelight and memory; the harmonies support without overwhelming. There's a sense of collective pause, inviting both singers and listeners to sit with something genuinely felt rather than cheerfully performed.

This works beautifully in middle school and high school choirs seeking meaningful December repertoire that honors multiple traditions. It's equally effective for community, adult, and church choirs looking for something reflective and inclusive rather than purely celebratory.

• Lean into the contemplative mood by allowing space around phrases. Resist the urge to rush; silence between phrases becomes part of the piece's power.
• The optional clarinet parts deepen the harmonic landscape significantly. Even one clarinet player can add depth; two create a fuller orchestral texture that enhances the pensive quality.
• Shape the text naturally as your singers speak the words aloud first. The phrase about traditions (old and new) should feel conversational, not declamatory.
• Balance blend carefully in the two-part writing. Encourage the singers to listen across parts, not just at their own line, so the harmonies read as unified rather than layered.

Pair this with one or two livelier December selections to create dynamic contrast in your concert. Its contemplative nature makes it an ideal closing number or a powerful second piece that shifts the emotional temperature of the evening. It also works well as a bridge piece between secular and sacred holiday repertoire.

• Sustaining tone quality across two-part harmony
• Balancing blend while maintaining individual vocal line clarity
• Phrasing and interpretation of text with emotional intention
• Reading and performing optional instrumental parts in rehearsal
• Ensemble listening and part independence in close harmonic writing