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

Roger Emerson's arrangement captures Hathaway's signature blend of jazz harmonies and vocal accessibility, making it substantial enough for a concert moment without demanding a rhythm section or complex staging. The SATB texture sits comfortably for mixed choirs while preserving the soul and sophistication that made Hathaway's version memorable.

Warm and introspective, like an evening of music with someone you trust completely. The arrangement settles into rich harmonic colors and lets the text breathe, creating space for reflection even within a celebratory holiday season.

Choirs with singers who can navigate jazz harmonies and sustain lines with independence, particularly those comfortable with slight rhythmic flexibility. This works for holiday concerts, chamber choir showcases, or winter programs seeking something beyond traditional carols.

• Balance the alto and tenor lines carefully, especially where they support the melody; these inner voices carry Hathaway's harmonic language and shouldn't disappear into the texture.
• Shape the phrases with the ease of a singer interpreting a jazz standard rather than treating each line as technically separate; let rubato breathe naturally where the arrangement allows it.
• Pay attention to sustained vowels in the lower voices, as the jazz voicings can sound muddy if the fundamental pitch isn't secure and centered.
• Consider how dynamics shift across sections; this arrangement rewards subtle shifts in volume that reflect the emotional arc of the song rather than obvious forte and piano markings.

Position this in the second half of a holiday concert as a moment of genuine emotion between more festive or traditional selections. It pairs beautifully with a cappella spirituals or other jazz-inflected standards, offering singers and audiences a chance to experience Christmas through a soulful, grown-up lens.

• Singing jazz harmonies and suspended chords securely
• Voice independence in four-part texture with chromatic inner voices
• Stylistic interpretation of popular song rather than classical oratorio
• Breath management in sustained jazz voicings
• Listening for and balancing non-root-position harmonies