When Santa Got Stuck Up The Chimney (Euphonium & Brass Band) - PRINTED

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PRINTED VERSION. This festive and quirky Solo for Euphonium & Brass Band arranged by Tommy Tynan takes the well-loved Christmas tune “When Santa Got Stuck Up The Chimney” and reimagines it in the style of an old fashioned air varie, infused with modern and seasonal flair.

The piece opens with a theatrical introduction and cadenza, setting a whimsical tone.

The familiar theme follows, leading into

Variation 1 – Allegro Giocoso, a spirited 2/4

variation with a circus march character, full of bounce and wit.

Variation 2 – Tempo di Valse brings a joyful, Viennese-style waltz – elegant and full of

movement. A brief moment of darkness closes this variation, setting the stage for

Variation 3 – Andante Lagrimoso, a lyrical and reflective transformation. Here, the

rhythmic structure of the original melody is preserved, while the harmony and line are

subtly altered to evoke a touch of melancholy.

Finally, we revisit the opening material before launching into a high-energy Variation 4 –

Allegro Vivo, a whirlwind sprint to a thunderous and satisfying finale.

Performance Notes

The metronome marks are a suggestion and depending on the ability of the solo performer and/or band, slower or faster tempos can work equally as well as those listed.

There are FOUR percussion parts in this arrangement, If you have fewer players available, please prioritise as follows

One player - Drum Kit

Two players - Drum Kit, Timpani

Three players - Drum Kit, Timpani and Percussion Priority - disregard Percussion 1 & 2

Four players - Drum Kit, Timpani, Percussion 1, Percussion 2 - disregard Percussion

Priority

The Percussion (Priority) part combines essential material from Percussion 1 and 2 to

ensure all key effects and hits are covered when working with a reduced section.

Optional Cuts

Two optional cuts are provided to reduce the overall duration of the piece.

Opening Cadenza

The opening cadenza may be omitted. When taking this cut, the band should play bar 11 in full, including all four beats, and then proceed directly to Letter A.

The soloist should play the written Bb on the final beat of bar 11, treating this note as a single-beat anacrusis into the theme at Letter A.

The music should continue directly into the 12/8 at A, with no pause or break.

Cut from Bar 167 to Letter K

The optional cut marked from bar 167 to Letter K may also be taken.

When using this cut, the band should play only the first quaver of bar 167, then continue immediately at Letter K. That first quaver should effectively become the opening beat of the music at K, allowing the transition to remain continuous and seamless.

The Drum Set part should proceed directly to Letter K, using the written material there to bridge the cut and maintain momentum into the new section.

Reprinted by Permission of Hal Leonard Europe Ltd.