Lois Brownsey brings decades of performance experience to her arranging work, having spent 24 years playing bass and singing in pop, rock, and blues ensembles across the United States and internationally. Her background in musical theatre and studio work at Temple University shaped a distinctive approach to accessibility and stylistic range. She has also lent her voice to commercial jingles for major clients including AT&T and GMC, work that reinforced her gift for memorable melodic writing.
For many years, Brownsey has collaborated with arranger Marti Lunn Lantz on seasonal and multicultural choral works published by Alfred Music. Their catalog includes arrangements and original compositions that balance musical interest with practical classroom demands. Based in Pennsylvania's Pocono Mountains, Brownsey co-owns Red Rock Recording Studios with her husband, recording engineer Kent Heckman, which has produced numerous Alfred choral projects.
Why we love this
This arrangement captures the spark of a holiday classic without demanding extensive rehearsal time or advanced techniques from developing singers. Brownsey and Lantz have built in enough rhythmic and harmonic interest to keep singers engaged while keeping the range and vocal demands genuine to a 2-part setting.
What to expect
Bright, propulsive, and decidedly modern in sensibility. The arrangement brings genuine rhythmic energy to familiar holiday material without leaning on overly sweet or reverent textures.
Who it's for
This octavo works well for middle school through early high school choirs looking for contemporary holiday material that sits comfortably for developing voices. It's equally at home in rehearsal room sing-throughs or family concerts where you need something spirited but not demanding.
How to get the most out of it
Establish the rhythmic groove early in rehearsal by having singers snap or clap the driving pulse beneath the melody, especially through the busier sections.
Balance the two parts carefully when they separate; the lower line tends to get buried unless you encourage singers to match the dynamic energy of the melody line.
Record a quick run-through once parts are secure and play it back for the ensemble. Hearing themselves as a unified sound often sparks enthusiasm in younger choirs.
How to use it
Pair this with one or two more traditional arrangements to show range across a holiday concert set. It's substantial enough at 10 pages to anchor a short set on its own, or use it as a high-energy opener or closer to book-end slower carols.
Skills your students will build
Sustaining rhythmic independence when parts diverge
Balancing blend across a simple two-part texture
Performing with stylistic energy in contemporary holiday contexts
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