Sing We Now, Rejoice!: Choral Octavo SoundTrax CD

Moore's gift for singable melodies shines here. The 6/8 meter feels so natural that your singers will lock into the rhythm immediately, and the optional baritone cues show real classroom awareness—boys aren't left stranded on notes outside their range. This is the kind of arrangement that lets you focus on blend and expression rather than wrestling with fundamentals.

The 6/8 rhythm dances rather than marches, giving the familiar carol a gentle, lilting character that feels both festive and reverent. Singers move through this arrangement with ease, allowing genuine warmth and joy to emerge naturally from the harmonic writing.

This arrangement suits intermediate choirs with mixed voices, particularly those with limited numbers of changing voices or singers who sit out traditional upper-range material. It's an excellent choice for holiday programs where you need a piece that teaches solid musicianship without excessive technical demands.

• Let the 6/8 lilt establish itself early in rehearsal by conducting in one rather than three; this helps singers hear the characteristic rhythmic lilt of the carol without overanalyzing subdivisions.
• Assign baritone cues strategically during voice part assignments rather than waiting until performance week, so singers understand from the start that those options exist and can claim them confidently.
• Use the recorded accompaniment in early rehearsals to anchor harmonic relationships, then transition to piano or a cappella to strengthen singers' intonation and blend.

Pair this with other Christmas pieces in a range of styles—perhaps a more complex carol alongside it, or position it as an accessible opener that builds audience connection before moving into weightier repertoire. The recorded accompaniment also makes it viable for a choir to perform independently if piano accompaniment isn't available for a particular concert context.

• Singing compound meter (6/8) with rhythmic accuracy and lilt
• Reading three-part mixed voicing with optional baritone alternatives
• Blending harmonic parts across the traditional German carol idiom
• Responding to recorded accompaniment for pitch and ensemble alignment