Beboppin' Santa Claus: 2-Part Choral Octavo

Shaw brings his signature jazz sensibility and rhythmic vitality to this holiday standard, creating an arrangement that feels contemporary without losing the charm of the original. The 2-part voicing makes it accessible for younger or smaller ensembles while maintaining sophisticated harmonic and rhythmic choices that keep experienced singers engaged. Your students will want to sing this one.

Bebop irreverence meets holiday warmth. This arrangement has energy and sass without sacrificing the goodwill of the season. Expect your audience to smile and your singers to have genuine fun with the rhythmic sophistication and swing phrasing.

Any choir needing a holiday selection that sits comfortably on the lighter side of the concert while still sounding musically substantive. Smaller or younger choirs benefit from the 2-part voicing, while more experienced ensembles will appreciate the arranging craftsmanship beneath the playful surface.

• Keep the swing feel grounded in the rhythm section or accompaniment. The groove depends on a relaxed, behind-the-beat rhythmic approach rather than metronomic precision.
• Shape the melody with gentle dynamic peaks rather than singing everything at the same volume. Small dynamic gestures reveal the bebop phrasing without overdoing it.
• Balance the two parts so neither overwhelms the other. In passages where they move independently, both lines should carry equal weight in the blend.
• Let the ensemble feel the triplet subdivisions underneath the written rhythms. This internal subdivision will naturally improve your articulation and swing feel.

Ideal as a concert closer or the opening number of a holiday program, especially when you want to shift the mood from reverent to celebratory. It works particularly well on programs that mix traditional carols with contemporary or jazz-influenced pieces, signaling to your audience that the evening will have variety and personality.

• Reading and performing swing rhythms with proper triplet subdivisions
• Balancing two independent melodic lines in a blend
• Maintaining a relaxed, behind-the-beat phrasing in a jazz context
• Using dynamic shaping to articulate phrases and melodic contour
• Coordinating with rhythmic accompaniment while maintaining ensemble unity