The Entertainer (from The Sting): Piano Sheet

Gunther Schuller's arrangement respects the integrity of Joplin's original ragtime composition while presenting it in a form that serves modern pianists well. The syncopation and stride patterns that define the piece remain accessible at the late intermediate level, allowing students to experience authentic ragtime idiom without overwhelming technical demands.

The piece bounces with infectious energy and charm, its syncopated melody constantly surprising the ear with off-beat accents and playful rhythmic turns. There's an inherent sophistication beneath the exuberance; this is not simple stride piano but rather a carefully crafted compositional achievement that feels joyful without ever becoming trivial.

This arrangement suits late intermediate pianists who are ready to tackle authentic ragtime repertoire with proper rhythmic and stylistic awareness. It works equally well for students preparing recital material and for those exploring American musical idioms as part of a broader curriculum.

• Establish a steady tempo before beginning; ragtime relies on the listener's sense of a strong underlying pulse against which the syncopation plays. Use a metronome during practice to ensure the left-hand accompaniment stays metronomic while the right hand dances over it.
• Shape the syncopated right-hand figures with slight articulation so each accented note speaks clearly. Avoid rushing into syncopated passages; let them breathe as written.
• Balance the stride bass pattern so it provides supportive foundation without overpowering the melody. The bass should be felt, not heard.
• Practice hands separately until the independence between left and right is secure. Ragtime demands precise independence that won't develop with hands-together practice alone.

Program this piece in a recital that celebrates American composers or explores the evolution of popular music styles. Its recognizability from The Sting also makes it an engaging choice for audiences less familiar with classical repertoire, and its six pages make it a substantial but not exhausting solo statement.

• Syncopated rhythm reading and execution across both hands
• Stride bass accompaniment patterns and left-hand independence
• Balancing texture between melody and accompaniment
• Interpreting ragtime style with rhythmic clarity and forward motion
• Articulation and touch variation within a single musical style