“Up On The Housetop (Second Version),” arranged by Polly Bekasova, is a lively advanced piano arrangement of the classic American Christmas song. Marked Allegretto, this three-page arrangement gives the familiar melody a bright and rhythmic treatment, combining syncopated melodic figures, repeated chord patterns, moving bass lines, register changes, and contrasting textures. The arrangement also includes changes between 4/4 and 2/4, adding rhythmic variety and requiring the performer to maintain a steady pulse through the meter changes.

Measures 1–12 introduce the piece with a distinctive rhythmic texture. The melody appears in the upper register with short, accented figures and rests, while the lower part provides repeated chordal accompaniment. The frequent off-beat gestures give the opening a playful, energetic character and require precise coordination between the hands.

Measures 13–20 introduce a noticeable change of meter and texture. The music moves into 2/4, creating a shorter, more compact rhythmic feel before returning to 4/4. The melodic line becomes more flowing, with scale-like passages in the upper register while the left hand continues the characteristic rhythmic accompaniment.

Measures 21–29 continue the melodic material with flowing eighth-note figures in the right hand. The left hand maintains a steady chordal pulse, creating a clear contrast between the moving melody and the repeated accompaniment. The performer needs to keep the upper line smooth while maintaining rhythmic consistency below.

Measures 30–35 bring another variation of the main material. The right hand combines melodic fragments with quicker repeated-note figures, while the left hand continues its rhythmic chord patterns. The writing becomes fuller toward the end of the section, preparing for the more substantial final portion.

Measures 36–42 develop the arrangement with a combination of flowing bass figures and chordal melodic writing. The left hand becomes more active, using broken patterns that move underneath the melody, while the right hand alternates between individual melodic notes and fuller chords. This section requires particularly good balance between the hands.

Measures 43–48 continue the energetic accompaniment with repeated broken-chord patterns in the bass and chordal statements in the upper register. The texture is fuller than in the opening, and the performer must maintain clarity while coordinating the moving lower line with the upper melody.

Measures 49–51 form the final section. The music begins to settle into its closing sonorities, with sustained chords and longer melodic notes contrasting with the movement of the preceding measures. The final measure provides a clear and sustained conclusion to the arrangement.

Interesting fact: “Up on the Housetop” was written by Benjamin Russell Hanby in 1864. Hanby was running a singing school in New Paris, Ohio, when he wrote the song, which was originally associated with the title “Santa Claus.” It became one of the earliest American secular Christmas songs to focus specifically on Santa Claus and his visit on Christmas Eve.

The song was first published in the 1860s by the Chicago publisher Root & Cady, helping establish it as a popular American Christmas song. Its combination of Santa Claus imagery and a catchy, rhythmic melody helped it remain popular for generations.