Play It in Peoria Sheet Music Preview

Play It in Peoria: Piano

By Melody Bober

Item: 98-DE1023

Digital Download
$2.95
Description
For adventurous students who seek a richer, more dramatic sound, Play it in Peoria is now available as an intermediate-level duet. Jazzy and playful, it offers swing eighths, syncopation, chromatic passages, and a variety of articulations, as well as the "show-biz" effect of the stride-bass left hand in the closing section.

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Additional Details
Series: The FJH Piano Ensemble Series
Publisher: The FJH Music Company, Inc.
SKU: 98-DE1023

More about this title

About the Composer: Melody Bober

Melody Bober

Melody Bober brings two decades of public school teaching experience and additional university-level instruction to her work as a composer and clinician. She holds a bachelor's degree in music education from the University of Illinois and a Master of Arts in piano performance from Minnesota State University, Moorhead, where she studied with accomplished mentors including Joel Shapiro and Tony Caramia.

Beyond composition, Bober maintains an active private studio, serves as a church pianist and accompanist, and has directed church music programs. Her reputation as an innovative composer and dynamic presenter has made her a sought-after clinician at piano teacher conventions and workshops throughout North America. She lives in Minnesota with her husband Jeff.

Why we love this

Bober writes duets that actually sound like something, with genuine jazz idioms and rhythmic sophistication that intermediate students can sink their teeth into. The stride bass that closes the piece delivers real theatrical payoff, your students will feel like they're playing a show, not a study.

What to expect

A bright, energetic piece that winks at the audience. The syncopation and chromatic movement create forward momentum, while the stride bass section delivers a satisfying burst of virtuosity that feels accomplished and fun to execute.

Who it's for

Intermediate pianists ready to explore jazz vocabulary and rhythmic complexity without leaving the boundaries of classical technique. Duet partners at similar levels will find the writing accommodates their development while keeping both players engaged throughout.

How to get the most out of it

  • Lock the swing eighth feel from measure one. Have both players count 'trip-let, trip-let' on the backbeat until it becomes automatic; this lifts the whole piece.
  • The syncopated figures benefit from light articulation. Avoid over-legato playing; let the rhythmic shapes breathe and pop.
  • Balance matters in the chromatic passages. The primo voice typically carries the line, but the secondo keeps those figures crisp and not drowning underneath.
  • Approach the stride-bass closing section with confidence and a bit of showmanship. It's the emotional and technical climax, so give it room to land.

How to use it

Pair this with more traditional duet repertoire in a student recital or ensemble concert to showcase range and versatility. It also works beautifully as a teaching piece that makes jazz harmony and swing rhythm tangible, making it ideal for mid-year curriculum when students are ready for stylistic exploration.

Skills your students will build

  • Reading and executing swing eighth-note rhythms
  • Syncopation and rhythmic independence between primo and secondo
  • Chromatic voice leading and passing tones
  • Stride-bass technique and left-hand independence
  • Articulation variety and dynamic control
  • Ensemble balance and listening across a duet partnership

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