Sometimes we need a last minute holiday piece to fill out or balance our program.
We may have chosen a piece that was too difficult and need a last minute holiday replacement or we realize a little more cheer could enhance our program.
These 7 pieces can each be taught in just 1 rehearsal!
This blog post is aligned with the previous one, 8 Reasons I Repeat the Same Holiday Concert Music Every Year, in the sense that I’ve chosen to wait until after Thanksgiving before beginning any holiday music for more than a decade; this, in turn, provided my students with three full months of non-holiday repertoire before diving into the holiday repertoire as the season begins.
Every piece I list below is easily attainable by a self-selected high school choir, community choir, and many middle school programs as well. Additionally, most of these pieces can be downloaded instantly, so you can have your music in time for today’s rehearsal!
One more thing: besides mentioning why I think these pieces are great choices, I provide a suggested way to introduce and teach the piece in one rehearsal.
Here are 7 LAST MINUTE Holidays Repertoire Ideas that WILL work!
1. Night of Silence (many voicings available) – Daniel Kanter (Christmas – Instantly Downloadable)
This original piece contains a beautiful melody with three verses. In the third verse, Silent Night is sung as a counter-melody. There are so many different unique ways to frame this piece and several arrangements that Daniel Kanter has written. My choir performs the unison arrangement of this piece. I believe this piece can work with any amount of singers from elementary school all the way through college.
At my annual winter choir concert, we sing the 3rd verse twice: the first time the female alumni sing Silent Night against the melody. The second time, all women sing the melody and the men stand up quietly from the back of the auditorium and sing silent night. There are orchestral parts for sale, or it can be accompanied on the piano. I’ve included two different performances that demonstrate the flexibility on the piece.
Nothing beats St. Olaf
But it works just fine in UNISON!!
How to teach the unison version:
Sing through the entire song, which is just 3 verses of the exact same melody. Afterwards, teach the group Silent Night. Then choose students to sing Silent Night against the melody.
Oh Hanukkah (SATB) – this 45 second arrangement fits well within a caroling packet
2. Deck the Nutcraker Hall – arr. Greg Gilpin (Christmas – Instantly Downloadable)
This piece sets the lyrics of Deck the Halls to Tchaikovsky’s Dance Of The Sugar Plum Fairy. It is clever and easy to learn. This piece is instantly downloadable in SAB and SATB, and I believe there is also a two part version available. The singers and audience will appreciate it’s creativity.
I’ve included a humorous take on this arrangement! Movement is not required for this piece to be successful, but you can see how this piece can be performed creatively!
How to teach this:
All students should sing the melody all the way through; both will be familiar to many, and fun to learn, putting them together. Next I would separate the lyrical parts from the Fa, La, La sections. This will allow students to see how few lyrics there really are. I would then isolate the mysterious Fa, La, La section at the end and build upon the entry parts. Once that is learned, I would teach the ending. Lastly, I would have the students read through the harmonies to the lyrical parts of the song, as they are repetitive and not complex. This piece can be learned in a 30 minute rehearsal.
3. Carol of the Bells – arr. Peter Wilhousky (Christmas)
This piece is definitely an audience favorite and is easy to learn and memorize. While this piece is lyrically connected to Christmas, there is a backstory that preceded it’s famous lyrics and it’s affiliation to the Winter season. Here is a link to an article I found that explains the original intent of Carol of the Bells. While I cannot validate it’s accuracy, it does explore into a deeper meaning.
How to teach this:
Have the entire choir sing the sopranos’s opening 4 measure theme (which is essentially one measure repeated 4 times) and then move from part to part to find where the theme moves; this will engage all students and get them to process the piece from beginning to end. Focus on the articulation of the four note pattern from the onset (long, short, short, short) so it will be transferred throughout the song.
Next, focus on the initial entrance of each part; the altos can find their note from the soprano pattern, just as the tenors can find their entrance from the alto’s third pitch. The basses may have a trickier time finding their entering note, and that is something that could be focused on later; the rest of the bass part is super easy as they mainly have repeated or step-wise pitches when they aren’t singing the main 4 measure theme.
Finally, have everyone learn the tenor part “O How Happy Are Those Tones. Gaily they ring……” all the way until the tenors have the 4 measure theme. If tenors struggle to sing this melody, add some altos to reinforce. This piece can be learned in a 30 minute period.
4. Siyahamba (Kwanzaa – SATB or SSA – Instantly downloadable)
This piece has such emotional depth and while it was not written for Kwanzaa, it’s sentiment embodies the very spirit of the holiday. From the way we teach it, to the way we discuss it’s meaning, it is truly a piece that brings tremendous value, and yet it takes 10 minutes to teach.
This piece is a winner because it can (and should) be taught by rote and also keep singers engaged in the learning process by singing each other’s parts.
Since this piece is in public domain, and I have been teaching it by rote for many, many years. I have an arrangement available on my website for free in SATB or SSA. Along with free download, I’ve included teaching/programming notes that I believe will help to bring your performance to life.
How to teach this:
This piece should be taught by rote, in keeping with the tradition of the piece. The entire choir should learn the melody and lyrics. I would recommend putting the Zulu lyrics on the board, along with the English Translation. After everyone learns the soprano melody, I would teach everyone the alto harmony, followed by the tenor part, and then the basses. While we want the notes and rhythms to be correct, it’s equally important that we understand the meaning behind the song. The same concept applies with the SSA arrangement.
There are numerous arrangements out there, in various parts. I will firmly state that teaching any arrangement by rote, with the group standing and fully engaged, will create the most meaningful performance.