I've spent quite a few Sunday mornings humming the melody to this is the christ satb while trying to get my tenor section to actually hit their cues without looking terrified. It's one of those pieces that looks deceptively simple on the page—just a few pages of choral music, right?—but once you start digging into the harmonies, you realize there's a whole lot of soul hidden between those staves. If you've ever been part of a church choir or a collegiate ensemble, chances are this piece has crossed your music stand at some point, or at the very least, you've heard it echoing through a sanctuary during the Advent or Christmas season.
Why this arrangement stands the test of time
There's something about the way F. Melius Christiansen put this together that just works. When you're looking at the score for this is the christ satb, you aren't just looking at notes; you're looking at a legacy of the "St. Olaf style" of choral singing. It's all about that straight tone, the perfect blend, and a level of phrasing that makes the music feel like it's breathing along with the singers.
To be honest, a lot of modern choral music tries a bit too hard to be edgy or complex. But this piece? It stays grounded. The text, written by Billy Graham, is direct and poignant. It doesn't need a hundred key changes or weird time signatures to get the point across. The beauty is in the clarity. When a choir nails that first chord, it doesn't just sound like four parts singing together—it sounds like one massive, resonant voice.
Getting the balance right in SATB
Let's talk about the actual logistics of singing this is the christ satb. It's an a cappella piece, which is always a bit of a gamble depending on how much coffee your choir has had that morning. Without a piano to lean on, the "SATB" part of the equation becomes incredibly important.
The sopranos usually have the easy job of carrying that beautiful, soaring melody, but the real magic happens in the middle voices. If the altos and tenors aren't locked in, the whole thing can feel a bit thin. I always tell my singers that the inner voices are the "glue" of the piece. You want those harmonies to shimmer underneath the melody, not overpower it, but definitely not disappear either.
Then you've got the basses. In this is the christ satb, the bass line provides the literal foundation. If they're flat, the whole choir is going to sink like a stone. But when they provide that rich, warm bottom end, it gives the sopranos the freedom to float on top. It's a balancing act that requires everyone to actually listen to each other—which, let's be real, is sometimes the hardest part of any rehearsal.
Common hurdles in rehearsal
Every choir director knows the "trouble spots" in certain anthems. When you're working through this is the christ satb, one of the biggest challenges is the phrasing. Because the piece is so lyrical, there's a natural tendency for singers to want to breathe after every few words. If you do that, you break the line, and the whole emotional build-up just vanishes.
I like to practice "staggered breathing" with my group for this one. It's a bit of a trick, but if everyone takes a breath at a different time, the audience never hears a break in the sound. It creates this "wall of sound" effect that is absolutely chilling when done right.
Another thing to watch out for is the tempo. It's easy to let this piece drag because it's so pretty. You start enjoying the chords a little too much, and suddenly you've added two minutes to the run time and the congregation is starting to check their watches. You have to keep a sense of forward motion. Even in the quieter, more contemplative moments, there should be an underlying energy that keeps the music moving toward the next phrase.
The emotional impact of the lyrics
You can't really talk about this is the christ satb without mentioning the words. Billy Graham's text is simple, but it hits hard. It's a declaration of faith that feels very personal. When a choir sings "This is the Christ," it's not just a performance; it's a statement.
I've found that the best performances of this piece happen when the singers actually stop looking at the technical aspects for a second and think about what they're saying. If the choir doesn't believe what they're singing, the audience won't either. There's a specific dynamic shift toward the end of the piece that always gets me—it's that swell of sound that feels like a physical wave of emotion. If you can tap into that, you've won.
Tips for smaller choirs
Now, I know what some of you are thinking. "My choir only has twelve people on a good day, and half of them are out with the flu. We can't pull off a Christiansen arrangement."
Actually, you can. While this is the christ satb sounds amazing with a hundred-voice choir, it's surprisingly effective with a small, intimate ensemble too. The key is focus. In a smaller group, every single voice matters even more. You can't hide in the back of the section.
If you're working with a smaller group, focus on the tuning first. Since the harmonies are so pure, even one person being slightly off will be noticeable. But the upside is that a small group can achieve a level of nuance and "hushed" intensity that a massive choir sometimes struggles with. Don't be afraid to take it on just because your numbers are low.
Where to find the best editions
If you're looking to pick up copies for your library, you'll find that this is the christ satb is widely available through major choral publishers like Augsburg Fortress. They usually have the classic Christiansen versions that have been the standard for decades.
I always recommend getting the physical octavos if you can. There's something about holding the actual sheet music that feels different than reading off a tablet or a photocopied sheet. Plus, these are the kinds of pieces you'll keep in your folders for years. They don't go out of style, and they don't get "old." You'll find yourself pulling them out every few seasons because they just fit so well into the liturgy.
Final thoughts on the piece
At the end of the day, singing this is the christ satb is a bit of a rite of passage for many choral singers. It connects us to a long tradition of sacred music that prioritizes beauty, blend, and message over flashiness.
It's not the kind of song you sing to show off how high your sopranos can scream or how fast your tenors can run through melismas. It's the kind of song you sing when you want to create a moment of genuine reflection. Whether you're standing in a massive cathedral or a tiny country church, those chords have a way of filling the space and settling into your bones.
So, if you're a director looking for something "new" that's actually a classic, or a singer who just wants to appreciate a masterclass in choral writing, give this one some serious time. It might take a few rehearsals to get those inner harmonies perfectly tuned, and you might have to remind your basses not to scoop their notes, but the payoff is worth it. When that final "Amen" or closing phrase rings out and then fades into silence, you'll know exactly why this piece is still being sung more than half a century after it was written.