J.S. Zamecnik’s Polly in an arrangement for cello & piano. This novelty piece was published in 1926. It is a lively movement that needs to be played in a swing style. The realisation plays back at 62 half note or minim beats per minute. (bpm). In this arrangement the music sounds in the original key of D. The pdf sheetmusic download has a cello part appended to the full score. There is a strong chromatic element in this movement which has a formal structure related to the American march form Additionally there is a strong repetitive element in the use of shapes and motifs which is often a feature in the popular music idiom. Modern instruments are tonally much stronger than the instruments of the 1920’s and some of the indicated articulation markings may need to be reviewed by players. Popular music idioms in the modern sense were established in the first decade of the 20th century first with ragtime and then with related styles like novelty piano, stride piano and subsequently with blues and jazz styles and much later other combinations . Musicians as such were provided with a career choice of either pursuing the popular or more serious classical idiom. Interestingly many successful popular music composers and performers in the early 20th century were classically trained. The realisation plays back at 62 half note or minim beats to the minute. Accompaniments are in place playing back at 58, 60, 62, 64, 66, 68, 70 and 72 half note or minim beats to the minute. The conventions used in the notation of swing music are confusing and not altogether consistent or to be believed. Time spent listening to performances of this piece will be helpful Communicating the swing style element that is important when the music is played. The triplet pattern or shape is the key rhythmic element John Stepan Zamecnik had a successful career as a composer of music for film or more accurately silent films commonly referred to as photoplay music. As a composer he frequently used pseudonms. It would be interesting to ask him why? Whilst American by birth he studied music in Prague with Dvorak in the mid 1890's. Much of his working life was spent in the city of Cleveland.
