Smash Hits for Christmas: SA(B) Choral Book

Gwyn Arch has crafted three arrangements that feel fresh without sacrificing singability, which is exactly what young choirs need. The mix of a contemporary pop standard, a spiritual, and a perennial favorite gives you programming variety without requiring your singers to learn three completely different musical languages. Each arrangement sits comfortably in developing voices while still delivering the energy that makes a Christmas concert memorable.

These arrangements blend contemporary warmth with choral tradition, creating moments that feel celebratory without being overwrought. You'll hear the recognizable hooks of "Merry Christmas, Everybody" and "Do You Hear What I Hear?" sitting alongside the spiritual depth of "The Virgin Mary Had a Baby Boy," giving your concert both joy and humanity.

This collection serves newly-formed or developing SA(B) choirs that need accessible yet musically substantial material. It's ideal for directors seeking familiar songs that engage audiences while remaining within the technical reach of emerging singers.

• Build the dynamics gradually in "Merry Christmas, Everybody" to hit the familiar chorus with full energy; resist the urge to come out at full volume from the start.
• Let the spiritual's call-and-response structure breathe; young singers often rush the exchange between sections, so use rehearsal time to establish clear question-and-answer phrasing.
• Balance the unison sections in "Do You Hear What I Hear?" by having singers listen across parts rather than inward; this prevents one section from dominating the melody.
• Work through the piano accompaniment separately before combining it with the singers; the accompanist's tempo choices will anchor the choir's interpretation of all three pieces.

Open your Christmas concert with the pop energy of the Slade hit, settle into the spiritual's gentler territory, and close with the timeless carol. Alternatively, scatter them throughout a longer concert to provide textural variety and keep the audience engaged across the full program.

• Part independence between SA(B) sections
• Dynamic control and shaping within accessible ranges
• Call-and-response phrasing and ensemble coordination
• Sustained singing over piano accompaniment
• Melodic clarity in unison and two-part textures