This Christmas (arr. Roger Emerson): SSA Choral Octavo

Roger Emerson's SSA arrangement captures the warmth and sophisticated harmony of Hathaway's original without demanding excessive vocal maturity. The voicing sits comfortably for high school choirs while preserving the jazzy sophistication that makes this carol feel fresh, not tired. It's a legitimate alternative to the hundredth performance of 'Jingle Bells,' and your singers will actually enjoy learning it.

Sophisticated and unhurried, this carol invites reflection rather than rushing toward resolution. The jazz harmonies create pockets of brightness and contemplation, and the arrangement respects the intimacy of Hathaway's original vision while opening it up for ensemble singing.

This arrangement serves SSA choirs at the high school level and above, including community and adult singers seeking less conventional holiday fare. Directors programming mixed or women's ensembles will find it equally valuable for singers with at least two years of choral experience.

• Spend time with the rhythmic displacement in the melody line. This isn't a straight carol, and locking into Hathaway's phrasing will distinguish your performance immediately.
• Balance the jazz harmony carefully; the arrangement's chromatic extensions can blur together if any section dominates. Blend matters more than volume here.
• Record the part audio tracks separately and ask singers to learn them individually before sectional rehearsals. The voicing is accessible, but familiarity accelerates learning significantly.

Position this as a featured selection in a holiday concert rather than part of a medley. It pairs well on a program with other jazz-influenced arrangements or spiritual interpretations, giving your choirs a chance to showcase musical maturity and taste alongside more traditional fare.

• Understanding jazz harmony and chromatic voice leading
• Performing with rhythmic independence and expressive phrasing
• Blending sustained harmonies that contain extension chords
• Interpreting rubato and musical space in arranged music