A classical intro to that famous bass line (now on the cello) to an original Bartok-like middle section yields an HSQ favorite.

Except for the instantly recognizable bass line, the original Stones’ song has very little thematic material to work with. In arranging rock, the persistent challenge is embodied in how we often joke, “Take away the drums and the lyrics and what’s left?”. As a good example of that, I added a simple baroque intro to conceal the upcoming bass line and an original Bartók-like middle section. I tried to maintain the rhythmic intensity throughout via syncopations and strong accents. Intonation can be a real problem here. As a rule, I try never to write in key signatures whose accidentals you can’t count at a glance, but here it was unavoidable. We lean on the high side of pitch at measure 81 as it helps foster a general agreement. Also, don’t rush the eighths at measure 95.