Wintertime Cheer: SSAB, a cappella Choral Octavo

Althouse takes the madrigal form and refreshes it with contemporary harmonic language, creating something that feels both rooted and current. The fa la la's anchor the piece in tradition while surprising tonal dissonances keep singers engaged in the details of the voicing. An optional percussion part gives you flexibility to enhance the festive energy without requiring additional rehearsal complexity.

Festive yet sophisticated, Wintertime Cheer mingles the celebratory spirit of a holiday gathering with the refined textures of contemporary chamber writing. The piece moves between moments of bright unison and layered harmony, creating an experience that is both warm and slightly unsettling in the best way, inviting listeners into a musical conversation that feels familiar yet fresh.

This octavo works for high school and college choirs with solid blend and intonation skills, as well as community and semi-professional ensembles comfortable with modern harmonic language. The SSAB voicing accommodates treble-heavy sections while remaining accessible for mixed voice choirs with flexibility in part distribution.

• Balance the fa la la sections so they land as a cohesive moment rather than a melodic line. These are textural punctuation, not the main event.
• Lean into the dissonances by holding them slightly in time. Don't rush through the moments where chords feel tense; let the singers hear what makes Althouse's language modern.
• If you include the optional hand drum or tambourine, keep it simple and rhythmically locked with the texture. Restraint serves this piece better than constant accompaniment.
• Treat the four-part arrangement sections as chances to shift vocal color and density. The variety is intentional; use dynamic and blend shifts to highlight each configuration.

Pair this with other contemporary madrigals or secular choral works to showcase how the form evolves across centuries. Its wintertime context makes it ideal for December concerts, but the musical substance stands well beyond seasonal programming. The optional percussion part also makes it an engaging encore that can transition smoothly from a longer, more formal concert set.

• Balancing dissonant harmonies and hearing them as intentional color rather than error
• Blending multiple voice textures within a single piece (four-part arrangements alternating with full SSAB sections)
• Ensemble intonation in modern harmonic contexts with non-traditional chord resolutions
• Rhythmic precision and ensemble cohesion in a cappella singing
• Interpretation of textural elements like fa la la sections as compositional device rather than purely melodic content