Merry Christmas to Me! Cover Image

Merry Christmas to Me!: 2-Part Choral Octavo

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Merry Christmas to Me! Cover Image

Merry Christmas to Me!: 2-Part Choral Octavo

Music by Andy Beck and Brian Fisher

Item: 00-22953

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Description
Listen up Mom, Dad, Grandma, and Santa Claus, 'cause we're singing our entire Christmas list in this up-tempo Broadway-style showtune. "I want a shiny trombone, a cellular phone, and stereo equipment in a room of my own." Complete with staging suggestions and a crazy kazoo interlude, it's a guaranteed hit for your holiday concert. A laugh-out-loud show-stopper! Perfect for young singers, and equally effective as a comic feature for older groups. Consider the fully orchestrated SoundTrax CD for even more fun! Featured on the new staging DVD/Video "On the Stage!" (DVD #23037, Video #23129).

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Additional Details
Series: Alfred Choral Designs
Publisher: Alfred Music
Page Count: 12
UPC: 038081221366
SKU: 00-22953

More about this title

About the Composer: Andy Beck

Andy Beck

Andy Beck serves as Director of Choral Publications at Alfred Music, where he oversees a catalog of over 450 choral works, vocal resources, and children's musicals. His pedagogical writing includes the widely adopted method books Sing at First Sight, Foundations in Choral Sight Singing, and Vocalize! 45 Vocal Warm-Ups That Teach Technique. A trained tenor and experienced musical theatre director, Beck brings both compositional skill and classroom expertise to everything he writes.

Beyond his publishing role, Beck maintains an active career as a guest conductor, choreographer, and clinician for music educators across the United States and beyond. He holds degrees in Music Education from Ithaca College (Bachelor's) and Northwest Missouri State University (Master's), and has served as a commissioned composer and conductor for all-state honor choirs throughout the Southeast. His work consistently reflects a deep commitment to music literacy and choral artistry.

Why we love this

Beck nails the tone here: this is genuinely funny without being patronizing, which means it works for middle schoolers without embarrassing high schoolers who perform it. The Broadway sensibility gives singers real musical meat to chew on, this isn't a novelty that sounds cheap, and the built-in staging removes the guesswork of how to make it stage-worthy.

What to expect

Imagine a Christmas morning that sounds like a Broadway stage: bright, boisterous, and brimming with the kind of infectious energy that comes from singing about material wants with tongue planted firmly in cheek. The piece bounces along with showtune confidence, complete with that kazoo moment that turns the whole thing into joyful pandemonium.

Who it's for

This works beautifully for middle school and younger high school choirs seeking a reliable laugh-getter for the holiday concert. It's equally at home with elementary select groups who want something with theatrical polish or with older ensembles programming comedy between serious numbers.

How to get the most out of it

  • Nail the comedic timing by rehearsing the lyrics as spoken rhythm first; once singers lock the tempo, layer in the melody for maximum impact.
  • Make the kazoo interlude a full ensemble moment. Even non-singers can participate, which builds investment across your whole group.
  • Lean into the Broadway style by encouraging bright vowels and crisp articulation on the list-singing sections; clarity sells the humor.
  • Use the SoundTrax accompaniment as a rehearsal tool early on, but pull it away before performance so singers feel the lift from their own energy.

How to use it

Open the second half of your concert with this to reset the room's energy after slower, more reverent pieces. It pairs well with other secular holiday selections and gives your singers a chance to show personality alongside their technical growth. The staging suggestions make it a natural anchor for a theme-driven concert structure.

Skills your students will build

  • Broadway-style phrasing and diction in a 2-part texture
  • Comic timing and dramatic intention in singing
  • Stage movement integration with ensemble coordination
  • Confidence performing novelty material without self-consciousness

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