Kirby Shaw's influence spans continents. Over four decades, he has conducted workshops and masterclasses across North America, Europe, and Australia, bringing his distinctive blend of musical rigor and infectious energy to thousands of musicians. He holds degrees in Music Education and Choral Composition from San Jose State University and earned his DMA in Choral Conducting from the University of Washington.
Shaw's career has centered on building vocal programs of national distinction. He founded and directed the acclaimed COS Vocal Jazz Ensemble at College of the Siskiyous before leading similar ensembles at Colorado State University and the University of Missouri at Kansas City. Currently directing the Jefferson State Choral Coalition at Southern Oregon University, Shaw has also collaborated with jazz luminaries including Bobby McFerrin, Al Jarreau, and Jon Hendricks. As a prolific composer and arranger with over 2500 works in print and nearly 20 million copies sold worldwide, his music appears in choirs globally. His recent commission for the Mormon Tabernacle Choir reflects his continued prominence in choral music.
Why we love this
Shaw's gift lies in finding the spiritual weight within accessible vocal writing. By interweaving two beloved melodies, he creates an arrangement that feels both intimate and substantial, never sacrificing integrity for simplicity. For 2-part choirs building their Christmas repertoire, this offers genuine musical substance without overwhelming younger or newer singers.
What to expect
This arrangement settles into you like candlelight. The combination of two familiar melodies creates recognition and warmth, yet Shaw's approach feels contemplative rather than celebratory, inviting singers and listeners into a moment of reflection. There's an elegance in the simplicity that reveals itself through careful singing.
Who it's for
2-part choirs ranging from middle school through community ensembles seeking substantial Christmas music without extreme vocal demands. This works equally well for concert settings and worship contexts, giving younger singers meaningful repertoire alongside more experienced singers.
How to get the most out of it
Balance the two melodic lines so neither overpowers the other. The interplay between them is the arrangement's heart; rehearse them separately first, then layer them deliberately.
Shape each phrase with intentional breath placement. Since you're working with 2-part voicing, every breath becomes audible; choose points that allow both parts to breathe together and maintain textual momentum.
Explore the harmonic possibilities through subtle dynamic shaping. Let moments where the melodies align harmonically bloom slightly more than moments of independence, clarifying the compositional architecture for listeners.
How to use it
Place this as a centerpiece in a mixed-level Christmas concert, where it can stand alone or frame other seasonal works. Its intimate nature also makes it ideal for holiday worship services, community sings, or as the final piece of a program where you want the audience to leave thinking rather than clapping.
Skills your students will build
Singing independent melodic lines within harmonic contexts
Phrase shaping and breath management in 2-part writing
Balancing blend and clarity when melodies interweave
Connecting text to musical line in sacred material
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