Drums on the Housetop Cover Image

Drums on the Housetop: Concert Band Conductor Score & Parts

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Drums on the Housetop Cover Image

Drums on the Housetop: Concert Band Conductor Score & Parts

By Benjamin R. Hanby / arr. Timothy Loest

Grade: 1

Item: 98-B1159

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Description
This novelty selection is perfect for featuring your percussionists at your next holiday concert. Tim has used plenty of toys which are readily available at this grade level. The band is also involved throughout, including a clever harmonic twist that keeps the piece interesting. A great way to introduce your students to some new auxiliary percussion instruments.

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Additional Details
Series: FJH Beginning Band
Publisher: The FJH Music Company, Inc.
UPC: 674398212248
SKU: 98-B1159

More about this title

About the Composer: Benjamin R. Hanby

Benjamin R. Hanby (1833-1867) composed "Drums on the Housetop" during the Civil War era, creating a piece that became an enduring fixture of American holiday traditions. His gift for memorable melodies and straightforward orchestration made his work accessible to amateur musicians and school ensembles, a legacy that continues through arrangements like this one for beginning band.

Hanby's compositional output, though brief due to his early death, emphasized singability and clarity. His approach to melody and form serves as a model for writing music that engages both performers and audiences without requiring advanced technical skill.

Why we love this

This arrangement gives your percussion section a genuine spotlight without sidelining the rest of the band. Timothy Loest has written smart accompanimental figures that keep the wind players engaged while the drums and toys carry the melody, and that harmonic twist in the middle prevents the piece from becoming a novelty act. It's a clever way to balance featuring your percussionists with maintaining ensemble musicality.

What to expect

Playful and deliberately toy-like, with the charm of a music box meeting the energy of percussion instruments. The piece bounces along with genuine humor while maintaining the harmonic sophistication that keeps older students and audiences engaged. When that harmonic twist arrives, the music finds unexpected depth beneath the novelty surface.

Who it's for

First-year concert band students and their directors who want to create a memorable holiday program moment. This works especially well for ensembles with strong percussion players who are ready for a featured role, and for groups looking to incorporate new auxiliary percussion instruments without overwhelming the band.

How to get the most out of it

  • Rehearse the percussion and band parts separately first. Have your percussion players master the toy sounds and sticking patterns before integrating them with the wind section.
  • Emphasize clarity and precision in the toy percussion parts. Clean articulation on the drums and rhythmic lock from the auxiliary percussion will make the difference between cute and crisp.
  • Shape the harmonic twist with your ensemble. When the chord movement shifts, use a slight dynamic lift or tempo clarity to make the transition feel intentional rather than accidental.
  • Balance the percussion melody against the band accompaniment so both layers are audible. The toys should never be buried, and the wind parts should support without overwhelming.

How to use it

Place this as a standalone feature in your December concert, or use it to close a pops set before intermission. It works particularly well on programs that balance serious holiday arrangements with lighter fare, and it gives your percussion section a chance to shine in front of their families and peers.

Skills your students will build

  • Reading and performing auxiliary percussion parts (triangles, woodblocks, sleigh bells, or similar toys)
  • Maintaining steady rhythm and pulse while featured instruments carry the melody
  • Balancing ensemble texture when percussion is prominent
  • Recognizing and executing harmonic changes within a simple song form
  • Performing with stylistic clarity and articulation in a novelty context

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