Sing We Now of Christmas: 3-Part Mixed Choral Octavo

Opening a Christmas concert with a fanfare immediately sets a festive, ceremonial tone, and Althouse's arrangement of this French carol does exactly that while offering genuine musical substance. The internal contrast between the majestic fanfare opening and the slower homophonic section gives singers something substantive to execute, and the optional brass and percussion parts elevate the work without requiring them for an effective performance. Programs built around this piece become stronger because it's both immediately satisfying and genuinely well-crafted.

Festive and formal at once, with the brightness of a trumpet fanfare giving way to a warmer, more reflective moment before the piece concludes. The French carol melody carries both dignity and joy, lifted by fresh harmonic support that makes a familiar tune feel new.

Directors leading mixed choirs of developing singers who want concert-opening music that sounds substantial without excessive technical demands. The SAB voicing accommodates sections with less secure readers while still offering the contrapuntal interest that keeps experienced singers engaged.

• Balance the three parts during the contrapuntal passage by isolating each line in rehearsal; SAB requires careful attention to part independence, especially when all three voices move simultaneously.
• Shape the opening fanfare section with clear articulation and energy; the majestic character depends on crisp attacks and controlled releases rather than sustained, blended tone.
• Transition deliberately into the slower homophonic section by reducing tempo gradually and allowing the sonority to deepen; the contrast loses its impact if the shift feels abrupt.
• If using optional brass and percussion, rehearse with them early enough that singers adjust to the timbre and excitement without rushing or losing vocal precision.

Lead your concert with this piece to establish an assured, celebratory mood from the downbeat. Its 12-page length and accessibility make it an ideal pairing with more substantial Christmas works later in the program, and the optional brass parts allow you to scale the arrangement to fit whatever resources you have available.

• Singing independent lines within a three-part texture
• Distinguishing contrapuntal writing from homophonic texture through performance
• Controlling articulation and release in fanfare-style material
• Balancing vocal tone across changing harmonic density