Santa Fever Cover Image

Santa Fever: 2-Part Choral Octavo

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Santa Fever Cover Image

Santa Fever: 2-Part Choral Octavo

Music by Lois Brownsey and Marti Lunn Lantz

Item: 00-20049

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Description
Boogie back to disco 70s with this funky holiday number that's fun for everyone. It's not Saturday Night Fever, it's Santa Fever, and he's comin' to town!! "He's cool, he's hot. He's in the groove." It's festive and fun. If you liked Lois and Marti's S.A.N.T.A., be sure to catch the Santa Fever. And the authentic, disco-style SoundTrax CD is sure to make you "boogie oogie everywhere!"

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Additional Details
Series: Alfred Choral Designs
Publisher: Alfred Music
Page Count: 8
UPC: 038081179810
SKU: 00-20049

More about this title

About the Composer: Lois Brownsey

Lois Brownsey

Lois Brownsey studied at Temple University in Philadelphia and trained at the Guitar Workshop while working actively in musical theatre. Throughout her career, she performed extensively in pop, rock, and blues ensembles across the United States and internationally, playing bass and singing in clubs and concert venues from 1973 until 1997. She also built a parallel career writing commercial jingles for major clients including AT&T and GMC Truck Dealers.

With her longtime writing partner Marti Lunn Lantz, Brownsey has established a catalog of seasonal and multicultural choral works published by Alfred, ranging from novelty holiday pieces to world music collections. The pair has co-created song anthologies such as Celebrations around the World and The Wonders of the Earth, as well as collaborative projects with other composers. Brownsey currently resides in Pennsylvania's Pocono Mountains, where she co-owns Red Rock Recording Studios with her husband, recording engineer Kent Heckman. The studio has served as the recording home for numerous Alfred Music projects.

Why we love this

This piece captures authentic 1970s disco energy without veering into pastiche. The songwriting is playful and singable across a wide age range, and the funky groove makes rehearsals genuinely fun rather than obligatory. A disco Christmas number gives your concert an unexpected jolt of personality that audiences remember.

What to expect

Infectious, tongue-in-cheek, and unmistakably retro. The disco groove moves forward with unstoppable momentum while the lyrics keep the tone bright and silly, making it impossible for an audience to sit still. This is holiday music that celebrates fun itself.

Who it's for

This piece works well for middle and high school choirs looking to program something outside the traditional holiday repertoire, as well as church choirs wanting to reach younger audiences or break seasonal monotony. Any ensemble comfortable with contemporary pop/rock inflections and light-hearted novelty numbers will find it accessible and energizing.

How to get the most out of it

  • Lock in the rhythm section early. The funk pocket depends on steady, confident ensemble timing, so spend rehearsal time on the rhythmic foundation before layering in melody and harmony.
  • Lean into the vocal style. This piece asks singers to adopt a looser, more rhythmic delivery than traditional choral material. Encourage them to feel the groove rather than sing with classical precision.
  • Balance the recorded accompaniment carefully. The SoundTrax CD provides authentic disco instrumentation, so mix it at a level that supports without overwhelming the singers' blend.
  • Have fun with the presentation. Lighting, simple choreography, or even costume elements can amplify the retro flavor and help singers commit fully to the character of the piece.

How to use it

Position this as a concert highlight or finale to give your audience an unexpected lift after more traditional seasonal selections. It also pairs naturally with other novelty holiday pieces by the same composers, or it can stand alone as a palate cleanser in a longer concert program.

Skills your students will build

  • Singing in a contemporary pop/rock style with rhythmic precision and groove
  • Blending 2-part harmony while maintaining an unclassical, relaxed vocal production
  • Responding to a recorded accompaniment track with ensemble cohesion
  • Interpreting text with character and personality rather than literal musical expression

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