Now Is The Month Of Christmas: SATB Choral Octavo

Anne Raugh's arrangement preserves the Renaissance charm of Morley's original while making this festive secular carol genuinely singable by modern SATB choirs. The writing sits comfortably in contemporary ranges without flattening the character of the period, and the straightforward six-page format works perfectly as a concert opener or program closer that audiences recognize and enjoy.

Bright and spirited, with the kind of melodic contentment that comes from period writing where the text and music align so naturally they feel inevitable. The piece radiates festive warmth through transparent four-part writing and text that speaks directly to seasonal joy, inviting singers to embody genuine celebration rather than manufactured cheer.

Intermediate to advanced SATB choirs seeking seasonal repertoire that connects singers to the Renaissance tradition rather than retreading Victorian Christmas standards. This works equally well for concert performances, educational showcases, or informal holiday celebrations where sophistication matters.

• Bring out the lilt of the text by allowing natural speech rhythms to inform phrase shapes rather than metronomic evenness; Morley composed for singers who valued expressiveness within a clear pulse.
• Balance the four voices so inner parts remain audible without sacrificing the soprano line's natural primacy; Renaissance part writing depends on this transparency.
• Consider one voice per part if your ensemble allows, which reveals the linear independence Morley built into the harmony.
• Keep articulation clean and consonants crisp; the syllabic text setting demands clarity, especially on repeated syllables.

Position this as a concert anchor that signals you're engaging the broader musical tradition, not defaulting to familiar holiday chestnuts. Pair it with other secular Renaissance carols or use it as a bridge between classical and modern repertoire, demonstrating how seasonal themes have sustained composers across centuries.

• Renaissance harmonic language and voice leading conventions
• Singing with stylistically appropriate articulation and phrasing
• Maintaining independent melodic lines within four-part texture
• Interpreting period-appropriate text expression and declamation