That's Christmas To Me (arr. Audrey Snyder): 2-Part Choral Octavo

Audrey Snyder's arrangement captures the infectious energy of Pentatonix's original while remaining genuinely singable for developing choirs. The 2-part voicing keeps the texture clean and transparent, allowing your singers to focus on rhythmic precision and blend without drowning in complex voice leading. It's the rare holiday piece that feels current and engaging rather than nostalgic.

Modern, energetic, and surprisingly warm. The arrangement balances the group's signature rhythmic and percussive vocal style with genuine melodic moments that let singers shine. There's playfulness here, but not frivolity; it's sophisticated enough to respect the ensemble's abilities while remaining accessible.

This arrangement works well for choirs with limited a cappella experience, since the 2-part texture removes some of the coordination demands while still teaching the essential skills. It's also ideal for programs building a contemporary holiday set or looking for a piece that connects with student musicians who grew up listening to Pentatonix.

• Treat the rhythm section and percussion syllables (bah, boom, tss) as integral to the vocal texture, not optional embellishment. Lock these in first during sectionals.
• Work the unison passages separately from the 2-part sections. Many singers will instinctively anticipate the harmony, so isolate the unison lines until they sit solid.
• Balance between parts matters enormously in a cappella writing. Part 2 often carries supporting material that students skip over; mark those moments in the score and rehearse them with appropriate weight.
• Use recordings of the arrangement during warm-ups to help singers internalize the harmonic context, especially if this is their first a cappella experience.

Pair this with more traditional holiday selections to show the range of what holiday music can be, or feature it as a crowd-pleasing closer that reminds audiences that contemporary a cappella is legitimate choral art. It also works beautifully in a concert built around student-selected repertoire or modern arrangements.

• Rhythmic independence in a cappella settings
• Blend and balance in 2-part counterpoint
• Vocal percussion and rhythm syllable precision
• Listening and intonation without instrumental reference
• Confidence performing contemporary popular music in a concert context