Jazzy Saint Nick: Choral Octavo SoundTrax CD

Robinson taps into what makes a holiday novelty number actually work: rhythmic vitality and genuine humor without sacrificing musical substance. The scat syllables and swung rhythms give singers real jazz vocabulary to chew on, while the partner song structure means you can use this with singers at different levels in the same rehearsal.

Picture St. Nick in a bebop club: swingin' rhythms pull you forward, playful scat syllables make singers smile while they're concentrating, and the whole arrangement has that cool, slightly mischievous energy of vintage jazz. It's fun without being corny, and clever without being arch.

Directors with 2- and 3-part choirs looking for something seasonal that won't insult their singers' intelligence. This works equally well for middle school choirs building jazz vocabulary and high school groups wanting a confident, accessible holiday number that actually swings.

• Establish the swing feel early in rehearsal by having singers listen to the recorded accompaniment multiple times before learning the melody. Let them absorb the groove before asking them to sing on it.
• When splitting into the two partner songs, rehearse each part separately until singers are secure, then layer them gradually. Robinson writes them to work in any combination, so use that flexibility.
• Keep the scat syllables punchy and articulate. These aren't meant to sound precious; they should snap with the kind of rhythmic clarity you'd expect from a jazz vocalist.
• Balance the novelty factor with vocal production. Just because the content is lighthearted doesn't mean the singers should abandon good tone and breath support.

Drop this into a holiday concert as a breather between more traditional or serious repertoire. The partner song structure also makes it ideal for a moment where you want to showcase how your singers can handle both unison and independent lines, all while your audience is laughing.

• Singing swing rhythms and interpretation in a jazz context
• Scat singing and non-traditional vocal syllables
• Reading and performing partner songs with rhythmic independence
• Balancing musical humor with vocal technique and tone quality