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By Strauss: Piano Duet (1 Piano, 4 Hands) Sheet

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By Strauss Cover Image

By Strauss: Piano Duet (1 Piano, 4 Hands) Sheet

By George Gershwin and Ira Gershwin / arr. Geoff Haydon and Jim Lyke

Level: Intermediate

Item: 00-PA9910

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Description
George and Ira Gershwin were "kidding around" (Ira's description) with the Viennese waltz form. Their spoofing time led to a delightful song, which they finished for the Broadway revue The Show Is On. It was the last song the Gershwins wrote for Broadway. Haydon and Lyke have captured and emphasized to exaggerated waltz flavor, with its lifts and dips and pauses. It's a fun piece to play. It's a fine piece for almost any performance venue, with great Gershwin sounds and wonderful humor. (The lyrics and a bit of historical background are included on the title page.)

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Additional Details
Publisher: Alfred Music
Page Count: 12
UPC: 654979003571
SKU: 00-PA9910

More about this title

About the Composer: George Gershwin

George Gershwin (1898-1937) bridged classical composition and American popular song with an fluency that few composers have matched. His concert works, musical theater scores, and standards remain central to the American repertoire, performed by orchestras and jazz ensembles alike. Gershwin had an instinctive gift for melody and a keen ear for the idioms of his time, from jazz inflections to European forms reimagined through an American lens.

With his brother Ira as lyricist, Gershwin created some of Broadway's most enduring music. Their collaboration was one of mutual respect and creative synergy; Ira's wit and wordplay found their match in George's sophisticated harmonic language and rhythmic invention. Gershwin's early death cut short a career that had already reshaped American music.

Why we love this

Haydon and Lyke's arrangement captures the affectionate irreverence of the original, amplifying the waltz's comedic exaggeration through articulation, rhythmic lift, and strategic pauses. Two pianists playing one instrument creates an inherently theatrical dynamic that mirrors the Gershwins' own playfulness with form. It's a piece that rewards ensemble chemistry and lets pianists enjoy genuine musical humor together.

What to expect

There's a gentle absurdity here, the way a waltz should swing with elegance but this one winks at itself. The arrangement luxuriates in the form's conventions, stretching them just enough to make you smile. It feels like watching accomplished dancers deliberately clown through their steps, confident enough to let the humor land without apology.

Who it's for

Intermediate pianists ready to collaborate on the same bench will find this piece rewarding without being technically overwhelming. It suits studio partnerships, young duet players progressing toward chamber music, and ensembles planning programs that need both substance and levity.

How to get the most out of it

  • Emphasize the exaggerated waltz character through deliberate lifts between phrases; the arrangement's pauses are written moments that need air and clarity, not speed.
  • Balance the primo and secondo parts so neither drowns the other. The secondo provides harmonic and rhythmic foundation, but the primo's melody shouldn't overshadow its partner.
  • Synchronize the rhythmic gestures between both players. Precision on the written rests and the bouncy articulations will amplify the spoofing effect.
  • Notice where Haydon and Lyke have added dynamic contrast and accents to underscore the humor. These small details telegraph the arrangement's wit to the audience.

How to use it

Pair this with other Gershwin arrangements or piano duet literature to build a coherent recital set. Its 20th-century American voice and theatrical warmth make it an excellent counterweight to more serious concert works, offering audiences a moment of genuine entertainment without sacrificing musicianship. The included historical background and lyrics encourage brief program notes that enhance the audience's enjoyment.

Skills your students will build

  • Waltz rhythm and metric understanding in a contemporary context
  • Ensemble balance and synchronization in four-hand writing
  • Interpretive control of articulation and phrasing for comedic effect
  • Navigating arranged material that honors the original while asserting new voice

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