What Can I Play for Christmas?, Book 2: Piano Book

Berry's arrangements respect the integrity of these beloved melodies while providing tasteful, singable accompaniments that enhance rather than overshadow the carol itself. The collection spans a genuine range of styles (from the contemplative "I Wonder As I Wander" to the jubilant "We Three Kings") and cultural traditions (Ukrainian Bell Carol sits alongside American spirituals), giving pianists real variety within a cohesive liturgical framework.

These arrangements evoke the quiet reverence of winter worship alongside the warmth of celebration. Some pieces settle into contemplative spaces (the title's wonder reflected in "I Wonder As I Wander" and the ethereal "Ukrainian Bell Carol"), while others radiate joy and affirmation. Throughout, Berry's writing feels grounded in liturgical tradition yet contemporary enough that the music sounds fresh, never antiquated.

Late intermediate pianists preparing Christmas or Advent recitals, church pianists seeking fresh arrangements of holiday standards, and students working toward greater musicianship through solo repertoire that demands both technical and interpretive maturity. These pieces also suit pianists accompanying vocal or instrumental ensembles during the holiday season.

• Approach the spirituals with particular attention to the harmonic language. Berry's voicings are often richer and more contemporary than the hymnal versions pianists may know, so allow time to hear how each chord functions within the phrase.
• Balance melody and accompaniment carefully in pieces like "Angels We Have Heard on High." The carol melodies are the focal point; use dynamic shaping in the supporting material to draw listeners toward the tune rather than away from it.
• Use the pedal deliberately in the quieter, more introspective arrangements. "It Came Upon the Midnight Clear" and "I Wonder As I Wander" benefit from resonance, but clarity should never be sacrificed.
• Practice hands separately in pieces with denser accompaniment figures. Understanding how the left hand complements the melody prevents the arrangement from feeling cluttered in performance.

Reserve these pieces for your December recitals, holiday services, or school winter concerts where sacred repertoire fits the context. A sequence drawn from this collection could frame an entire program, or individual selections pair well with secular winter pieces to create balance. The range of styles makes it easy to program two pieces back-to-back without repetition of mood or texture.

• Harmonic analysis in contemporary sacred writing (recognizing how Berry moves beyond traditional hymnal voicings)
• Pedal control and sustain in arrangements that rely on resonance without muddying texture
• Interpretation of folk and spiritual melody through arranged accompaniment
• Sight-reading confidence with moderately complex rhythmic figures and hand independence
• Phrasing and dynamic shaping in accompaniment-driven textures where the melody is implied rather than stated in the right hand