The Many Moods of Christmas: Suite 2 SATB Choir

Shaw's gift for reharmonization and counterpoint transforms these beloved carols into something that feels both timeless and freshly imagined. The suite moves through contrasting moods and textures without ever overwhelming your singers, and the five selections give you enough material for a substantial Christmas program without requiring multiple purchases.

You'll move from the devotional warmth of O Sanctissima through the triumphant energy of Joy to the World, find quiet tenderness in Away in a Manger, then land in the spirited, almost dance-like character of Fum, Fum, Fum before closing with the pageantry of March of the Kings. The five movements feel like chapters in a story rather than a collection of separate pieces.

This suite works perfectly for choirs with a solid foundation in SATB reading who want to program more than one carol without feeling repetitive. It's ideal for directors seeking Christmas material that challenges singers musically while remaining approachable for audiences.

• Balance the inner voices carefully in O Sanctissima; Shaw's voicing creates independent melodic lines that need clarity without drowning out the sopranos.
• Let the piano or orchestra set the tempo firmly in Joy to the World. Your singers will feel more confident attacking rhythms when the accompaniment provides a solid foundation.
• Shape Away in a Manger with long phrase lines rather than stopping at every barline. This carol benefits from singing through the harmony changes rather than articulating them.
• March of the Kings demands rhythmic precision from the entire ensemble. Lock this in sectionally before combining voices.

Consider programming this as the centerpiece of a Christmas concert, using the suite's natural arc to structure your entire show. Alternatively, you might open with the entire suite and then follow with other repertoire, letting Shaw's arrangements set the musical tone for the rest of your program.

• Reading sustained harmonic progressions and reharmonized familiar melodies
• Balancing multiple independent melodic lines within four-part voicing
• Maintaining rhythmic precision during syncopated passages (especially in Fum, Fum, Fum and March of the Kings)
• Shaping longer phrase lines across several measures without phrase breaks
• Responding to varied accompaniment styles (piano and orchestral)