Remix The Classics

Mendelssohn's Canzonetta from the Op.12 String Quartet recast over a hip hop beat and bass, the string writing kept intact while the rhythm section drives it hard at 135bpm in B minor. Bright, kitsch and comic, with the quartet lines doing the melodic work throughout. Suits fashion and sneaker spots, awards-night comedy or a strutting character entrance.

Schubert's String Quartet No.13 chopped over a steady 120bpm beat with bass, A minor giving it a slightly shady, scheming edge under the comedy. Strings carry the melody while the groove keeps a mid-tempo swagger. Good for heist capers, mischievous pet footage or skate and street content.

Mozart's early D major quartet K.155 slowed to a 90bpm head-nod with drums and bass under the strings, the title's waltz-into-hip-hop joke doing exactly what the album promises. Sunny, quirky and unhurried, urban groove against courtly string phrasing. Works for animated rodent capers, quirky product reveals and light comedy narration beds.

Beethoven's Fifth flipped into a 115bpm C minor disco romp, funky drums and bass under the famous motif for maximum kitsch. Party energy, tongue firmly in cheek, dramatic minor-key strings against a four-on-the-floor feel. Ideal for roller disco footage, retro fitness ads and comedic period pastiche.

Haydn's 'Emperor' quartet given an electronic hip hop treatment at 100bpm in G minor, beat and bass sitting under the noble string theme. Struts rather than sprints, with a wry regal swagger. Fits luxury-with-a-wink advertising, mock-serious documentary sequences and comedy villain scenes.

Mendelssohn's Op.13 quartet pushed to a fast 136bpm in A minor with beat and bass, the quickest tempo on the album and the most party-leaning. Urgent string figures over a driving pop pulse, comic but genuinely energetic. Good for chase sequences, high-speed comedy montage and upbeat retail spots.

Mozart's 'Hunt' quartet K.458 in B flat taken at a half-speed lurching groove, the slowest feel here and the most lumbering — hence the title. Strings over heavy beat and bass, comic and heavy-footed. Suits big clumsy characters, slow-motion gags and deadpan comedy narration.

Beethoven's late Op.132 quartet turned into a spinning 128bpm B flat groove, beat and bass giving the strings a fairground momentum. Bright, giddy and party-flavoured rather than solemn. Works for funfair and theme park footage, kids' brand advertising and whirling comedy montage.

Beethoven's Op.74 quartet in E flat over a 120bpm hip hop beat and bass, at 1:58 one of the tighter edits on the album. Springy and optimistic, with pop-leaning drums under agile string writing. Fits spring seasonal ads, bouncy title sequences and light-hearted lifestyle content.

Dvorak's 'American' quartet in F set over a 100bpm urban beat with bass, warm and folk-tinged strings against a laid-back groove. The most good-natured cue here — sunny, wry, unhurried. Suits sitcom transitions, family road-trip footage and comedic advertising with narration.

The strings-only version of the Mendelssohn Canzonetta arrangement: quartet writing alone at 135bpm in B minor, no beat or bass. Clean, agile and period-authentic while still edited for picture. Use as a straight classical bed, for period drama and for scenes needing acoustic strings without a groove.

Rhythm-section stem of the B minor Mendelssohn flip: drums and bass only at 135bpm across 2:15, no strings. Driving, dry and neutral, leaving the whole midrange open. Ideal as a groove bed under dialogue, voiceover or layered with other elements.

Drums-only stem at 135bpm, 2:15, with no strings or bass. Pure percussive drive for rhythmic emphasis or transitions. Best used under narration, as a percussion layer, or to add urgency to a montage.

Strings-only version of the Schubert Quartet No.13 arrangement, A minor at 120bpm across 2:18 with no rhythm section. Slightly shadowy and restless quartet writing on its own. Use for period scenes, literary documentary or any moment needing classical strings without a beat.

Drums and bass stem of the Schubert flip: 120bpm in A minor, 2:18, no strings. A clean mid-tempo groove with low-end support and full space above. Good under dialogue, presenter voiceover or as a layering element.

Drums-only stem at 120bpm, 2:18, no bass or strings. Neutral percussion running the full length of the cue. Useful for rhythm under narration, sound-design layering or simple forward motion.

Strings-only take on the Mozart K.155 arrangement, D major at 90bpm, 2:14, with no beat or bass. Sunny, courtly and light on its feet. Fits costume drama, elegant product photography and gentle comedy underscore.

Drums and bass stem of the Mozart flip at a relaxed 90bpm in D, 2:14, strings removed. Head-nodding urban groove with clear space above for dialogue. Works as an underscore bed or a layering track.

Drums-only stem at 90bpm, 2:14, no bass or strings. Slow, spacious percussion loop feel with plenty of room. Suits narration beds, rhythmic transitions and layering under other cues.

Strings-only version of the Beethoven Fifth disco arrangement, C minor at 115bpm and a compact 1:50, with no beat or bass. The famous motif left dramatic and unaccompanied by rhythm. Use for suspense stings, period scenes and classical-cue needs.

Rhythm stem of the disco Beethoven: funky drums and bass at 115bpm, 1:50, strings removed. Straight party groove with an open midrange. Good under voiceover, dancefloor footage or as a layering element.

Drums-only stem at 115bpm, 1:50, no bass or strings. Dry disco-leaning percussion with nothing competing for the mix. Best for narration beds, transitions and rhythmic layering.

Strings-only version of the Haydn 'Emperor' arrangement, G minor at 100bpm across 2:24, with no beat or electronics. Stately quartet writing on its own, dignified and slightly wry. Fits period drama, heritage brand films and classical underscore.

Drums and bass stem of the Haydn funk flip at 100bpm in G minor, 2:24, strings removed. Electronic-tinged groove with a clean top end. Use as a bed under voiceover, fashion b-roll or layered with other stems.

Drums-only stem at 100bpm, 2:24, no bass or strings. Neutral electronic-leaning percussion for the full duration. Suits narration, rhythmic layering and transitions.

Alternate stem version of the fast 136bpm A minor Mendelssohn Op.13 flip, 2:22. Note the instrument tagging conflicts with the stated stem name, so audition before use. Otherwise same tempo, key and length as the main mix.

Another stem version of the 136bpm A minor Mendelssohn arrangement, 2:22. Instrument tags do not match the stated stem name, so confirm contents before placing. Same tempo, key and duration as the full mix.

Orchestra-only stem of the 136bpm A minor Mendelssohn flip, 2:22, intended as the classical layer without the rhythm section. Instrument tagging conflicts with the title, so audition first. Suits period scenes and classical beds if the strings are present as titled.

Strings-only version of the Mozart 'Hunt' quartet arrangement in B flat, 2:06, with the rhythm section removed. Broad, unhurried quartet writing at the album's slowest feel. Good for gentle period scenes, wildlife footage and classical underscore under narration.

Drums and bass stem of the slow-lurching Mozart flip in B flat, 2:06, strings removed. Heavy, half-time groove with a lot of open space above. Works under voiceover, comedy slow-motion or as a layering element.

Drums-only stem of the slow B flat cue, 2:06, no bass or strings. Heavy-footed percussion with maximum space. Best for narration beds, comic timing and rhythmic layering.

Strings-only version of the Beethoven Op.132 arrangement in B flat, 128bpm, 2:17, with no beat or bass. Quick, circling quartet lines with a fairground lilt. Fits period drama, classical beds and light comedy scenes.

Drums and bass stem of the Carousel arrangement at 128bpm in B flat, 2:17, strings removed. Bright pop groove with the whole midrange free. Use under voiceover, event footage or as a layer with other cues.

Drums-only stem at 128bpm, 2:17, with no bass or strings. Fast, clean percussion for the whole length. Good for narration beds, transitions and rhythmic layering.

Strings-only version of the Beethoven Op.74 arrangement in E flat, 120bpm, 1:58, no beat or bass. Agile, optimistic quartet writing in a short usable length. Suits period scenes, classical beds and bright documentary underscore.

Drums and bass stem of Spring Bop at 120bpm in E flat, 1:58, strings removed. Springy hip hop groove with clear space above for dialogue. Use as a bed under voiceover or layered with other stems.

Drums-only stem at 120bpm, 1:58, no bass or strings. Straightforward percussion across a short, ad-friendly length. Best for narration beds, transitions and layering.

Strings-only version of the Dvorak 'American' quartet arrangement in F, 100bpm, 2:16, with no beat or bass. Warm, folk-inflected quartet writing standing alone. Fits Americana documentary, period scenes and gentle narration underscore.

Drums and bass stem of the Dvorak flip at 100bpm in F, 2:16, strings removed. Relaxed urban groove with a fully open midrange. Good under voiceover, presenter segments or layered with other cues.

Drums-only stem at 100bpm, 2:16, with no bass or strings. Neutral mid-tempo percussion for the full duration. Suits narration beds, layering and rhythmic transitions.

The Funny Bone backing without the classical strings: beat and synth at 100bpm in F, 2:16, leaving a modern instrumental groove. More contemporary than the other stems thanks to the synth layer. Works as a voiceover bed, a hip hop underlay or a layer beneath other material.