’Twas the Month Before Christmas

Andy BeckBy Andy Beck, Director of Choral Designs, Classroom, and Vocal Publications

’Twas the month before Christmas, a busy time at school,
But so far I’d managed to maintain my cool.

With extra rehearsals, and concerts, and such,
I started to think, “Have I scheduled too much?

Nursing homes, rotaries, gigs at the mall—
I honestly hope we can handle them all!

There are costumes to alter, and props still to get,
And that’s not to mention, we still need a set.”

Now, being optimistic, I knew we’d get done,
But started to doubt it would be any fun.

It was a typical Friday, at 10:54
(My ten-minute planning, I wish I had more),

With lists all around me, and feeling quite stressed,
I sat down to get some “to-do” things addressed.

When out on the stage, I heard such a clatter,
I sprang from my desk to see what was the matter.

When what to my wondering eyes should appear,
But a large group of kids from my choir that year.

They weren’t on the risers, just gathered around,
And my instinct at first was to say, “Quiet down.”

But then, when I realized what they’d come here for,
I wasn’t so eager to scold anymore …

Without my instruction, or cues, or a thing,
Suddenly, all of them started to sing.

The altos were flatting, the sopranos were, too.
The very best boys were at home with the flu.

The tempo was dragging, the dynamics were worse,
And most had forgotten the words to the verse.

But despite all the errors, the wrong notes, and flaws,
This beautiful moment, it gave me a pause.

As every last student sang deep from the heart,
I saw very clearly that I’d done my part.

For what could be better than teaching the joy
And the power of music to each girl and boy?

Listening more gave my spirits a lift,
And I’ll always remember this meaningful gift.

Though I was the teacher, my students taught me,
Which may be the best Christmas gift there can be!

Piano Teaching Tips from Melody Bober

When I was a young piano student, I always looked forward to the Christmas season because I knew that I would receive new Christmas solos from my piano teacher. Each year the pieces were a little harder, which was sometimes challenging. However, they were always a joy to practice and perform. Christmas is a fun time of year filled with events that create a lifetime of memories. I remember the huge Christmas tree at my grandparents’ house, homemade holiday treats, the reading of the Christmas story from the Bible, and, of course, Santa’s visit! But Christmas music was always the highlight for me and truly captured the spirit of the season.

Grand Solos for Christmas, Book 3In that spirit, I have written Grand Solos for Christmas, Books 1, 2 and 3 to provide a memorable Christmas experience for today’s students at the piano. These are pieces that will help them progress technically and musically. Book 1 contains arrangements at the early elementary level while the pieces in Book 2 are at the elementary level. Both Books 1 and 2 contain optional duet accompaniments. In the remainder of this article, I will focus on two favorites from Book 3, which are both at the late elementary level: “Deck the Halls” and “Ukrainian Bell Carol.”

“Deck the Halls” from Grand Solos for Christmas, Book 3

“Deck the Halls” begins with a festive introduction that includes a left hand crossover in measures 1–6. (See #1 on the score) Make sure that students use finger 2 for the crossover to create a strong bell-like sound. Measures 5 and 6 are a bit trickier, requiring a stretch to F# on the second half of beat 2 with finger 5. (See #2 on the score) Also, note that the pedal holds for 2 measures at a time through measure 6. The tendency is to change the pedal every measure, but the extra dampening provides resonance for the ringing sound. (See #3 on the score)  Measures 7 and 8 may require extra practice to play the G Major scale with the descending left hand movement. (See #4 on the score)

The main theme begins in the right hand at measure 8, but the melody moves to the left hand in measures 13 and 14. (See #5 on the score) The piece concludes with the same festive theme as the introduction, but with a decrescendo and poco rit. in measure 27.

“Ukrainian Bell Carol” from Grand Solos for Christmas, Book 3

Year after year, one of my students’ favorite Christmas pieces is the “Ukrainian Bell Carol,” found on page 20. This version begins with the familiar motive played pianissimo, but the dynamics change on every line. (See #1 on the score) Dynamics are an integral part of this piece, adding color and contrast to the repetitive themes. Review pedal changes with students since the damper pedal is down for the first four measures, but then varies throughout the remainder of the piece. (See #2 on the score)

Measures 13–16 have tricky left hand chord changes that should be practiced hands separately before playing with the melody. (See #3 on the score) Notice how the right hand changes fingers on the same notes in measures 22 and 24. (See #4 on the score) Also, isolate the right hand and practice the scale passages in measures 25–28. (See #5 on the score)

The added middle section in measures 33–48 expands the thematic material to include crossovers using the A minor, G Major and F Major triads. These crossovers may be somewhat challenging at the brisk tempo. (See #6 on the score) A hint of the bell motive appears in measure 45 leading back to the main theme in measure 49. The final page is very exciting, with scale passages and crossovers to end the piece with a flourish!

I hope you and your students will enjoy this collection to use at holiday recitals, nursing home performances, community events, or family fun.

Blessings to you this Christmas season!
Melody Bober
Author, Arranger, Composer

Whiplash—Conquering Complex Time Signatures in Jazz

Erik Morales

Erik Morales

“Whiplash”

Conquering Complex Time Signatures in Jazz

By Erik Morales

10/09/2014

A new movie hits the cinemas this fall, Whiplash. This highly acclaimed film is about a young student drummer and his relentless pursuit of perfection. The title of the film is borrowed from a jazz band composition by Hank Levy of the same name and is featured in a key scene of the film. “Whiplash,” composed by Levy for the Don Ellis band, is a notoriously difficult piece. This is due largely in part from the time signature that prevails: 7/4. Don Ellis was a pioneer in championing music that had odd meters. But the difficulty does not necessarily arise from the 7/4 meter.

The challenge of this arrangement and many other odd meter pieces in any genre lies in how the individual measures of 7/4 are subdivided. In order to perform this piece effectively all members of the band must understand how each measure is sub-divided or broken down into smaller parts. Specifically, each measure is subdivided in groupings of two or three eighth notes. Of course the eighth note groupings are arranged in a manner that always equal out to seven full beats (14 eighth notes). These groupings are illustrated in the following manner: (2+2+2+2+3+3), (2+2+3+3+2+2), (3+3+2+2+2+2), (3+3+3+3+2), and so on.

Luckily, most of “Whiplash” is based on the (2+2+2+2+3+3) subdivision of the 7/4 meter. Another variation to count this subdivision is a measure of 4/4 plus a bar of 6/8. Levy’s genius shines in his ability to save the more complex subdivisions for later sections of the work including the head-spinning ending. I was lucky enough to create an arrangement of this work for Belwin Jazz (00-30647).

Whiplash

The Levy arrangement was out of print so hopefully I was able to bring new and fresh light on this terrific tune. My version of the work attempts to be as close as possible to the original version but remain within the standards of today’s modern jazz ensemble. The producers of this film could not have found a more appropriate title. Whiplash lives up to the billing as both a brilliant movie and a musical masterpiece.

I highly recommend students and educators step out of the common time “box” and explore odd meters. It is a great way to expand the focus of meter and time in general.

Most importantly, have fun playing jazz!

Erik Morales
http://moralesmusic.com/

Click Here to see all of Erik’s Belwin Jazz arrangements.

Words of Worth

vanessa_christianBy Vanessa Christian, Associate Editor

For centuries composers have looked to great authors and poets for inspirational texts. Writers of the Baroque era often set stories of the Bible to music for their oratorios and operas. The tradition continued through later eras: Schubert had Goethe, Debussy had Baudelaire, Bernstein had Voltaire, and on and on.

Composers of today frequently find themselves setting the words of Christina Rossetti, Emily Dickinson, and Robert Louis Stevenson, just to name a few. But what is it about classic poetry that marries itself so readily with musical composition? Most likely, they are the same elements that create a popular song:

  • Using stressed syllables and cadences, poets create a rhythmic structure to support their words. Since both poets and musicians rely on a catchy rhythm, starting with an existing poem provides a natural framework for an added melody and harmonies.
  • Poets use imagery that composers can bring out in musical ways, such as an icy river rushing through the accompaniment, or hushed prairie winds lingering in the voices.
  • When a poem impacts its reader, it elicits an emotional response, possibly by being extremely relatable or telling a beautiful story. The meaningful words are enhanced and built upon by a skilled composer.

These elements combine to make the union of poetry and music a natural, timeless tradition.

Selecting an Elementary Musical for December

Anna WentlentBy Anna Wentlent, Managing Editor of School Choral & Classroom

There are many factors to consider when selecting a December musical or program: music, script, overall length, specific casting requirements, ensemble size, and—probably the most important—subject matter. As we see it, you have five options: Winter, Santa, Multicultural, Traditional, and Sacred.

Winter

To avoid all mention of the holidays, choose a musical about winter. The choice is especially appropriate for the month of December, when everyone is hoping for the first big snow fall (and snow day). An excellent example is Bring On the Snow!, a variety show of songs and sketches for a “snowlarious” winter. Skits include a pair of wisecracking reindeer, a snowflake ballet class, and a directionally-challenged family of geese. Songs include “Blizzard on the Way” and “Hot Chocolate!”

Santa

A Santa musical will appeal to almost every member of your audience by highlighting the secular aspects of the holiday that we all loved as children—Santa, Mrs. Claus, and the rest of the gang at the North Pole. Crazy Christmas is a series of nine Santa-themed songs that can be programmed individually or staged as a complete program using the optional script. Songs include “Santa’s Job Is a Snap” and “The Reindeer Rock.”

Multicultural

A multicultural musical in an inclusive and educational option for December. This choice allows you to acknowledge the “reason for the season” in a broad way with an overview of all of the holidays—Christmas, Hanukkah, and Kwanzaa. The plot of December Nights, December Lights centers on a group of young students who learn about the ways that people celebrate with their families in different cultures. Songs include “Light the Candles (For Eight Nights)” and “La Fiesta de la Posada.”

Traditional

If you teach in a conventional school district in a predominantly Christian community, consider programming a traditional musical that tells the Christmas story with an educational (rather than worshipful) approach. Our Annual Christmas Pageant is a classic story about the frantic final rehearsal and last minute auditions before the annual Christmas pageant. The score is comprised of traditional carols, such as “Silent Night” and “We Three Kings.”

Sacred

For Christian schools and churches, a truly sacred musical is appropriate. Funny yet touching, Miracle at the Christmas Café tells the Christmas story from the perspective of Polly Porkchop at the Christmas Café in Bethlehem. Songs include “Everlasting Light” and “The Hope of All the World.”

As you make your decision, remember that one of the reasons for producing a December musical is the feeling it will bring your students and audience members. What type of musical will leave a smile on their faces as they walk out into the snowy night after your performance? You know your own school or church community. Choose accordingly!

Building Community Support During the Holidays

Anna WentlentBy Anna Wentlent, Managing Editor of
School Choral and Classroom Publications

Your room is organized, classes have started, and now you’re looking ahead to the first concert of the school year. For most teachers, that concert will be in December, a month of holidays, stress, performances, stress, and PR opportunities! Over the course of the month, you will encounter administrators, other teachers, new students, parents, and community members. Take advantage of this opportunity to showcase your program! Here are a few suggestions for building school and community support during the upcoming holiday season:

  • Invite a community ensemble to participate in your December concert. They could perform in the lobby beforehand, between school groups while the stage set-up is being adjusted, or even in a joint performance with your students.
  • Ask audience members to join in a sing-along at the end of your concert (a Christmas carol, the “Hallelujah Chorus” from Handel’s Messiah, or similar well-known work).
  • Visit a local nursing home to sing carols or perform selections from your upcoming concert.
  • Invite members of the community to speak to your choirs and classes about the holiday traditions of their culture and/or religion.
  • Plan an “impromptu” flash mob performance by your high school jazz, a cappella, or show choir in the hallway or cafeteria.
  • Organize a weekend caroling event (stay at a set location, such as a square or park, or go door-to-door if you’re feeling ambitious). Choose familiar carols in simple arrangements to avoid extra preparation time.
  • Take a few select students to perform at the local elementary school. Many elementary schools have a “morning program”—the perfect opportunity for a short performance of one or two holiday songs.
  • Invite senior citizens to attend your final dress rehearsal for free. Carry the event one step further by following the performance with coffee and cookies in the cafeteria.
  • Stop by a meeting of the booster club, PTO, or school board to wish the members a happy holiday season in song with your small ensemble.
  • Create a concert display or handout that explains the many ways in which a student can be involved in your school music program. Oftentimes, students are unaware of the opportunities available to inexperienced musicians. And even if they are in the know, they may fail to communicate those options to their parents.
  • Ask a student to write and submit an article to local newspapers and blogs about the upcoming December performances at your school.

Have another idea? Share it below in the comments section!

Planning a Concert with Your Audience in Mind

By Jan Farrar-Royce

Jan Farrar-RoyceWhen my ensembles play at a concert, I want to hear a band parent say they enjoyed listening to the orchestra’s performance! I think that when we are choosing pieces for our presentations, we should consider not only the educational aspect of the program but the entertaining aspect as well.

Familiar pieces, especially those with lyrics, allow every listener to become invested in the performance. If you decide on a familiar piece for a concert, you might even include the lyrics on an insert in the printed program. Maybe members of your audience will want you to play that piece a second time so that they can sing along!

You can also monitor your students’ research of pieces and composers to create program notes for the printed program or, better still, have different students speak to the audience before each piece. Talking to the audience puts a friendly and accessible face on your performance, and you may discover that one of the players from the back of a section may be a wonderful researcher and/or speaker!

Another way to encourage your audience members to be active listeners is to tell them an interesting musical or historical fact about each piece or something the musicians learned by playing this piece. John Feierabend of The Hartt School calls this approach to performing an “informance.” Pointing out something in the music that the audience might listen for can be a lot of fun. Plus, it is good education for everyone, great PR for your string program, and a more fun approach to performing!

Piece of the Week: A Very Respectable Hobbit

Jack Bullock

Jack Bullock

Blog provided by:
www.smartmusic.com/blog

From Academy Award winner Howard Shore’s score for the 2012 movie The Hobbit: An Unexpected Journey, this piece will delight students and audiences alike. The first of Peter Jackson’s Hobbit trilogy, The Hobbit: An Unexpected Journey introduces audiences to the characters and themes of the fantastical world of Middle Earth, a setting already familiar from the beloved Lord of the Rings franchise. This arrangement features the Hobbit’s main theme, a folk-like tune that depicts the pastoral life of Bilbo Baggins and his fellow hobbits of the Shire, and hints at the adventures and conflicts to come. This easy and fun piece is available in both a concert band and string orchestra arrangement.

Audio Sample:

Audio provided by Alfred Music.

Composer Biography:

Howard Shore is among today’s most respected, honored, and active composers and music conductors. His work with Peter Jackson on The Lord of the Rings trilogy stands as his most towering achievement to date, earning him three Academy Awards. He has also been honored with four Grammy and three Golden Globe awards. Shore was one of the original creators of Saturday Night Live. He served as the music director on the show from 1975 to 1980. At the same time, he began collaborating with David Cronenberg and has scored 14 of the director’s films, including 2012’s Cosmopolis, The Fly, Crash, and Naked Lunch. His original scores to A Dangerous Method, Eastern Promisesand Dead Ringers were each honoured with a Genie Award and Cosmopolis was awarded for score and song “Long to Live” with Canadian Screen Awards. Shore continues to distinguish himself with a wide range of projects, from Martin Scorsese’s Hugo, The Departed, The Aviator and Gangs of New York to Ed Wood, The Silence of the Lambs, Philadelphia, and Mrs. Doubtfire.

Shore’s music has been performed in concerts throughout the world. In 2003, Shore conducted the New Zealand Symphony Orchestra and Chorus in the world premiere of The Lord of the Rings Symphony in Wellington. Since then, the Symphony and The Lord of the Rings – Live to Projection concerts have had over 285 performances by the world’s most prestigious orchestras.

In 2008, Howard Shore’s opera The Fly premiered at the Théâtre du Châtelet in Paris and at Los Angeles Opera. Other recent works include the piano concerto Ruin and Memory for Lang Lang premiered with the China Philharmonic Orchestra on October 11, 2010, the cello concerto Mythic Gardens for Sophie Shao premiered with the American Symphony Orchestra on April 27, 2012 and Fanfare for the Wanamaker Organ in Philadelphia. He is currently working on his second opera.

Shore received the Career Achievement for Music Composition Award from the National Board of Review of Motion Pictures, New York Chapter’s Recording Academy Honors, ASCAP’s Henry Mancini Award, the Frederick Loewe Award and the Max Steiner Award from the city of Vienna. He holds honorary doctorates from Berklee College of Music and York University, he is an Officier de l’ordre des Arts et des Lettres de la France and the recipient of the Governor General’s Performing Arts Award in Canada.

Howard Shore’s biography courtesy of http://www.howardshore.com/biography/

Arranger Biography:

Jack Bullock holds undergraduate, graduate and doctoral degrees in the field of Music Education. As a performer, he studied trumpet with Harry Glantz, James Ode and Craig McHenry, and performed with the Miami Philharmonic Orchestra and the Miami Opera Company. He also performed statewide with New York show and territory bands, and nationally with traveling dance bands. A prolific composer and arranger, Dr. Bullock has written more than 600 publications for a diverse group of ensembles, including concert band, orchestra, jazz ensemble and marching band. He is the co-author of the Belwin 21st Century Band Method, and was a contributing arranger for the recordings of Music Expressions, the innovative school music curriculum published by Alfred Music.

Getting Started With SmartMusic and Sound Innovations for Guitar

Bill_PurseBy Bill Purse

Author / Chair, Guitar and Music Technology, Duquesne University

Introduction

SmartMusic provides a solid guide for the beginning guitarist to personalize computer-assisted guitar instruction with practical materials they will use for a lifetime.  All of the exercises, examples, and approaches in Alfred Music’s Sound Innovations for Guitar provide real world music skills for guitarists no matter their level. Let me share some thoughts on getting started as a guitarist with SmartMusic and tips for maximizing the educational impact it can provide. After this brief tutorial, you should be well on your way to enjoying and playing all of the music in Sound Innovations for Guitar.

Download

Download the program from the MakeMusic site following this web address: http://www.smartmusic.com/support/downloads/.

Once you download the program, you will be guided through the installation process for your computer or for the recently released iPad version.

One of the great features of SmartMusic is its interactivity and assessment of your Sound Innovations for Guitar lesson performances.  You will attach a clip-on microphone to your collar to input a take, in which the computer records and accesses your performance.  Keep in mind that you can practice and review multiple lesson takes and keep your best take.

Input

My guitar input recommendation is to use either an acoustic guitar with a built-in pickup or an electric guitar and USB to instrument cable. Note: these will require a USB port on your PC or Mac. Know that they are not expensive and work quite well.  Examples: Ion IUB3 USB Guitar Cable for $29.92 | ClearClick Guitar to USB Cable $9.95. Or one of the new electric guitars that have USB output. Examples: USB Fender Squire Strat | Behringer iAXE393 USB Guitar | Epiphone Ultra-339Guitar with USB Output.

If you only have an acoustic guitar, a mic is required. SmartMusic offers an instrumental mic with a 10-foot cable for $29.95.

Once you select the proper input for SmartMusic as prompted by the application, select the appropriate input, such as the mic or USB Audio Device. Then close this window with the Close button at the bottom of the screen.

SmartMusic Input Image

Launching SmartMusic   

Smartmusic iconWhen you launch SmartMusic, after registering as a student, you can go to My Library > Method Books > Sound Innovations for Guitar. When you select this option, you will see all of the available lessons and tutorials available to guide you through your guitar journey.

Each part for the Sound Innovations for Guitar studies/songs has an individual selection.  You will need to play the selected Guitar part (Gtr. 1, Gtr. 2 or Gtr. 3). SmartMusic will perform any the other parts. Be careful that you play the appropriate selected Guitar Part or you will not get an accurate assessment.

My Library

Tuner

Once you areTuner Button getting a good signal on the Adjust Input Level meter, you will be ready to tune your instrument. Select the Tuner button  in the upper right hand corner of the screen, make sure it is set to Guitar in the upper left hand corner, and tune away with SmartMusic’s sophisticated tuner. Click the Done button when finished to launch into the SI Guitar Method.

View

Use the View menu at the top of the screen to go into full screen, or press command f. If the music is smaller than you wish, you can simply use the power keys command + or command – to modify the size of the music to one you can easily read.

SmartMusic Controls

SmartMusic Window

  • The Start Take button gives you a count off and then allows you to play the example or song. The green bar will travel across the music to show you where you should play the notes or chords.
  • The Tempo numerical field and blue tempo slider directly below it allow you to set the speed of the playback. Highlight the tempo field; then simply type in the desired tempo or use the slider to change the playback’s tempo. Tempo alterations will change the speed of the playback but not the pitch. You can select a tempo at which you can play the music accurately and then slowly increase the tempo as your guitar playing improves.
  • The Pause button stops SmartMusic’s playback when you press it, freezing the music until you hit the space bar. This resumes playback from where the music was paused.
  • All of the square boxes in SmartMusic’s main menu have a yellow light to the left of the button illustrating that its option is on. These boxes are black when the option is turned off.
  • The location fields allow you to select where the music will start after a count off. The house icon can be set to move the cursor to the beginning or end of the example. The following numericals select the start and stop points in bars and beats within the score.  The loop button keeps the score playing over and over until the stop take button is selected.

Listen/MP3

SmartMusic lets you listen to your performance and even save it as an MP3 file to share with your teacher or friends. You can select the takes button to see all of the takes you have created for each exercise or song. In addition, the keep button inside and to the right of this pull-down menu gives you the option of keeping the takes you want to preserve.

Conclusion

I am an enthusiastic witness to SmartMusic’s brilliant realization of Alfred Music’s Sound Innovations for Guitar method.  It is a wonderful educational tool where you will experience an interactive guitar course that uses our music, recordings, and concepts.  Aaron Stang and I want to encourage you to enjoy working with this innovative software, whether at home or in the classroom.

SmartMusic is a wonderful way to grow at your own pace as a guitarist, and it provides many options for you to develop solid musicianship skills. Good luck with SmartMusic, and have fun exploring many of the other works and improvisational opportunities SmartMusic provides.

Holiday Celebrations for All: Creating a Balanced Concert Program

Sally K. AlbrechtBy Sally K. Albrecht
Composer, Conductor, Clinician

With holiday concerts just around the corner, many choral directors just like you are making their final selections. As you review your choices, make sure you have covered many different styles, emotions, and types of celebrations. Know who makes up your audience and tailor your selections accordingly.

Do you travel with your choirs or small ensembles to sing at local retirement homes or hospitals? If so, consider including a familiar holiday song, carol, and/or sing-along. Try to alternate: a familiar with an original, a Christmas carol with a winter song, a spiritual with a novelty or multicultural number, etc.

Consider planning “sets” of music lasting around 15-20 minutes each, comprised of five to six contrasting chorals in a variety of styles and keys. Here are a few suggestions:

SATB
41815 – Sing We Now of Christmas – French Carol/arr. Mark Hayes
41670 – The Nutcracker . . . In About Three Minutes – Tchaikovsky/arr. Mark Weston
41721 – Winter Sings Her Song – David Waggoner
41892 – The Little Drummer Boy – arr. Philip Kern (a cappella)
41689 – A Wreath of Carols – Medley/arr. Andy Beck
41665 – The Little Cradle Rocked – Spiritual/arr. Jay Althouse

3-PART MIXED/SAB
41677 – Tell Me, Tell Me! (A Christmas Spiritual) – Sally K. Albrecht, Jay Althouse
41639 – Carol of the Snow – Ukrainian Folk Song/arr. Ruth Morris Gray
41684 – Merry Christmas Madrigal – Mary Ryan, Donald Moore (a cappella)
41686 – A Hanukkah Wish (with “Maoz Tzur”) – Andy Beck
40056 – Ding Dong! Merrily on High – French Carol/arr. Gary E. Parks
41740 – Jolly Old Saint Nick! – Traditional Carol/arr. Alan Billingsley

2-PART
41778 – Merry Christmas! Merry Christmas! – Mary Donnelly, George L. O. Strid
41579 – Hear the Bells – Dave Perry, Jean Perry
41662 – Angels in the Snow – Sally K. Albrecht, Jay Althouse
41768 – Cartoon Christmas – Medley/arr. Andy Beck
41736 – A Still, Silent Night – Austrian Carols/arr. Sally K. Albrecht
41660 – Shoulda Been a North Pole Elf – Andy Beck, Brian Fisher

WOMEN
40060 – Star Carol – Cathryn Parks, Gary Parks
41857 – Christmas Star (from Home Alone 2) – arr. Tom Fettke, Thomas Grassi
41672 – The Nutcracker . . . In About Three Minutes – Tchaikovsky/arr. Mark Weston
41775 – Sending You a Little Christmas – arr. Jay Althouse
41764 – Carols from the British Isles – Medley/arr. Douglas E. Wagner
41658 – Light a Candle – Andy Beck (opt. VideoTrax)

MEN
41797 – At Christmas Time – Clara B. Heath, Greg Gilpin
39875 – A Doo-Wop Christmas (With You) – Kirby Shaw (a cappella)
39802 – Carol of the Star – Donald Moore
41783 – Grown-Up Christmas List – arr. Mark Hayes
41647 – Bethlehem Spiritual – Donald Moore (a cappella)
41664 – Jingle Bells (Sort Of) – James Pierpont/arr. Jay Althouse

(Please note that many of these selections are available in multiple voicings.)

Hand out mittens and scarves or even small strings of jingle bells to your audience members to wear or use on a sing-along. If you need to extend your performance time, ask several students to prepare solo/duets or feature small ensembles on well-known holiday favorites. I’ve made use of Joy! A Carol Collection (arr. Jay Althouse) at several holiday events. It includes bright and fresh a cappella arrangements of 20 different carols. Singing along certainly gets everyone in the holiday spirit!