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WHETHER YOUR TREE IS MORE GRISWOLD or Charlie Brown, it’s undeniable: Christmastime is again upon us. After playing your umpteenth party, the standards sometimes begin to get a bit stale. Looking for fun, secular music to bring new life to your holiday repertoire? Here’s a new and refreshing string-trio arrangement of the Christmas classic “Blue Christmas” that’s sure to keep your guests entertained—and your trio smiling.
Originally written by Bill Hayes and Jay W. Johnson, and first recorded in 1948 by country star Ernest Tubb, “Blue Christmas” is a longtime holiday favorite that has captivated performers for six decades and secured a place on the holiday charts. The lyrics were quick to gain acceptance among such other country artists as Willie Nelson and Johnny Cash, but it was rocker Elvis Presley who popularized the song when he recorded it 50 years ago. In recent years, the song has made it onto the playlists of such pop artists as the Beach Boys, rockabilly revivalist Brian Setzer, Sheryl Crow, and the indie-rock band Bright Eyes. “Blue Christmas” was even featured on Billy Idol’s 2006 Christmas album. 
But who needs a singer when your violin can do the singing for you? LEARNING TO BE ‘BLUE’While writing this string-trio arrangement, I was mindful that this is an easily recognizable holiday song—partygoers may attempt to sing along—so I kept the original melody mostly intact, presenting only slight modifications that will help bring out the tone and make use of stringed-instrument techniques. The violin gets the pleasure of leading the ensemble and carries the melody throughout. The viola part offers a comical swing lick that one might expect in an old country song; when played in context, though, it can help fill out the harmonies and drive the momentum of the piece. The cello rounds out the chords with a steady bass line, and provides the support for the trio. Given these three distinct parts, each player is responsible for contributing his or her own voice to the ensemble. You should feel free to flavor your line with a character that is all your own. Part of this piece’s beauty lies in the simultaneous combination of three voices that creates a medley of style and harmony.
The violin part leads the pickups of each phrase, playing alone until the other instruments enter in the second measure of the phrases (see music on page 2). Violinists, don’t be shy here: it’s your chance to set the tempo (somewhere in the ballpark of quarter note = 96) and open up the melody. Use a smooth, legato, connected bow stroke.
The fingerings provided will keep you in third and first positions for much of the melody. Using third position should allow you to get a warmer, “blue-er” tone on the A string during the first phrase, and place you on stable fingers so you can use a wider vibrato. Stay in third position, but reach back for the C#s, as in m. 4, and m. 20. Hold off using your open E string until the second phrase, when you have the chance to brighten things up a bit. To help players distinguish the phrases—and to mark the places in the line where players should breathe, just as singers do prior to starting a new phrase—I’ve placed breath marks at the end of each phrase. Breathing at these points is a natural part of this music. As you lead into the second phrase in m. 5, shift back to first position and open things up a bit more, staying connected with your bow stroke. If you want to spice it up, you can add some quick slides, like up to the G in m. 6 with your second finger, the A with your third finger in m. 11, and the best place of all: the B with your second finger in m. 29. Violinists should also be prepared for the creeping fingering in second position in mm. 16–17. Use your open strings as points for transparent shifting. The viola line offers the comic relief, holiday cheer, inner harmony, and momentum for the piece. The rhythm is the most important element of this part. It is a written-out swing rhythm, where you can have some fun and put some sway in your step. Do your best to keep it energized and peppy. Think of yourself as the “interjection” in the conversation between all the voices in the trio—always add your two cents right in the middle. Ideally, you want to present some swing and lilt, but with a driving energy that perpetuates the rhythm and momentum throughout the piece. Use a short bow stroke, and articulate the rhythms the first time you have the swing lick. Be precise with the pizzicatos the second time you have it. You’ll get your chance to share in the melody with the harmonies at mm. 9–17 and mm. 25–end. Bring those out, and try to match the violin part exactly during those sections. The cello part is pretty straightforward and should be played as written. Give a little vibrato to the pizzicato notes in the beginning to help enliven them. Keep some pizzazz in your voice—even though it is simple, playing with energy can make all the difference. Mind the articulations on the staccato quarter note in mm. 5 and 21. Think of it as a premature stop at a traffic light, before continuing on as if nothing happened. As an ensemble, try to play the quiet, short transition in mm.16–17 closely together. Accentuate the interchange of pizzicato and arco in the lower voices, and breathe together when you see an apostrophe to shape the phrasing. As always, be mindful of the dynamics, listen to your fellow players, and, most importantly, have fun! | 
