Please Come Home for Christmas Sheet Music Preview

Please Come Home for Christmas: TTB Choral Octavo

Words and music by Charles Brown and Gene Redd / arr. Jay Althouse

Item: 00-PO-0006026

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Description
In 1960, pianist and singer Charles Brown first recorded this Christmas classic. Since then, the Eagles, Kelly Clarkson, Martina McBride, and Jon Bon Jovi are among the many artists who have covered the blues-infused tune about missing "the one you love" during the holidays. Opens with an optional solo followed by irresistible classic '60s harmonies.

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Additional Details
Series: Alfred Pop Choral Series
Publisher: Alfred Music
Page Count: 12
SKU: 00-PO-0006026

More about this title

About the Composer: Charles Brown

Charles Brown emerged as a pioneering figure in post-war American music, blending classical piano training with blues sensibility to create a sound that bridged multiple genres. His 1960 recording of "Please Come Home for Christmas" became an enduring standard, proving that emotional restraint and sophisticated harmony could carry a song farther than vocal fireworks ever could.

Why we love this

Jay Althouse's arrangement honors the song's DNA without overcomplicating it. The optional solo and those signature '60s voicings give your choir immediate credibility, and the blues-pop sensibility appeals to singers and audiences alike who might otherwise tune out another sentimental holiday tune.

What to expect

Melancholic but never maudlin. The blues inflection keeps sentimentality at arm's length, and those classic four-part harmonies create a warmth that feels lived-in rather than manufactured. You're singing about real longing, not Hallmark longing.

Who it's for

TTB choirs seeking something with genuine popular credibility that still respects their singers' musicianship. This arrangement works for mixed ensembles too (with the flexible voicing options), so directors rebuilding after attrition won't need a different version.

How to get the most out of it

  • If you use the solo, give it to someone with conversational phrasing rather than operatic legit tone. The blues DNA requires a player who understands space and restraint.
  • Balance the texture in the harmonies so no single part dominates. These aren't thick, doubled voicings; they're meant to shimmer when they lock together.
  • Let the rhythm section (if using the instrumental parts) sit slightly behind the beat rather than driving ahead. That's what gives the arrangement its nostalgic, wistful quality.
  • Consider stepping back from full volume in the climactic moments. Vulnerability reads louder than projection here.

How to use it

Pair this with more uptempo holiday fare to show range and emotional maturity in a concert set. It also works beautifully as a moment of reflection in a longer holiday show, anchoring the program between celebration and introspection.

Skills your students will build

  • Blues harmony and non-functional chord progressions
  • Balancing solo line against ensemble texture
  • Voicing control across multiple chord qualities (dominant sevenths, extended harmonies)
  • Stylistic awareness of pop/rock phrasing versus classical singing
  • Reading and interpreting music from the popular songbook tradition

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