O Come, Redeemer Of The Earth (arr. Richard A. Nichols): SATB Choral Octavo

Nichols captures Getty's gift for memorable melody in an arrangement that sits comfortably for mixed voices without oversimplifying the harmonic language. The piece has real substance for Advent programming; it's liturgically appropriate but never feels like obligatory seasonal filler. Your singers will actually enjoy learning and performing this one.

Reverent and hopeful without sentimentality. The melody unfolds with clarity and prayer-like directness, while the harmonies provide warmth and contemplation. There's an earnest quality here; this arrangement respects both the text and the listeners' spiritual attention.

Choirs with solid foundational skills in four-part writing and comfort with hymnic material, particularly those serving Advent liturgies or planning holiday concerts. Works well for adult volunteer choirs, church music programs, and college or high school ensembles with mixed voices.

• Balance the harmonic movement in verse sections by having inside voices (alto and tenor) shape the inner lines with clear articulation; these voices carry the harmonic interest while sopranos and basses anchor.
• Attend to text underlay carefully in passages where syllables shift between voices; sing through problem areas separately by voice part before combining.
• Let the recorded accompaniment establish harmonic context during rehearsals, but pull back on dynamic dependence as your singers gain confidence with the changes.
• Shape the piece with gentle phrase arcs rather than dramatic swells; this music rewards subtlety over volume.

Schedule this early in your Advent season so singers have time to internalize the melody and text fully. Pair it with instrumental music of similar character (organ, strings, or both) to anchor the liturgical mood. Its 11 pages offer enough substance for a meaningful rehearsal block without overwhelming singers preparing multiple holiday pieces.

• Reading and sustaining harmonic movement across four voices
• Shaping phrase contours in hymnic style
• Balancing inner voice independence with ensemble cohesion
• Coordinating text and melodic shape across voice parts