PG MUSIC - The Ragtime Pianist

@001 Sweet Adeline by Armstrong. An old favorite from the Ragtime Era performed here in the key of G. Great for singalongs.
@002 After he !all by "arris# $. %erformed in the key of & in a 'singalong' style.
@00( Alabama )igger by Edward !. $laypoole. )an*ary 2+# 1,1(. )os. -. Stern . $o.# /ew 0ork. 1ey of $. A '2igger' is a person who
'2igs' or dan3es . 4t5s also a small meas*re for li6*or *s*ally holding 1 172 o*n3es. Str*3t*re8 4/R9 AA !! A $$ $9:A
@00; Ale<ander5s Rag ime !and by 4rving !erlin =1,10>. E*bie !lake made the pie3e pop*lar in 1,10 in Atlanti3 $ity. !erlin wo*ld 3ome
into with Sophie *3ker to hear E*bie play and wo*ld always ask E*bie to play it. his pie3e revived Ragtime in 1,10# and many people
mistakenly believed that ragtime began with Ale<ander5s Ragtime !and. 4rving !erlin o*tlived his 3opyright of this song =?@ years A>
@00@ Ameri3an !ea*ty Rag by )oseph Bamb. =3> :e3ember 2?# 1,1(. Stark C*si3 $o. St. Bo*is. 9ne of the greatest rags of all and a
splendid e<ample of the best of the $lassi3 rags# it simply m*st be heard to be appre3iated. 4t reveals the depth of Bamb5s 3on3eptions# his
bold originality# and his *se of *n*s*al harmonies. he melodi3 lines alternate between long# sweeping phrases and short# shipping
melodies. -hile se3tion ! 3ompliments the A se3tion# the to*r de for3e 3omes with the short introd*3tion into the $ se3tion and thro*gho*t
$ leading to se3tion : with its powerf*l development into the finale. hese se3tions are more rhythmi3 than melodi3. A*stere yet elegant in
its sweeping bea*ty# it is an astonishing yet fitting rag in the development following E<3elsior Rag. Str*3t*re8 AA !! A R49D4/R9 $$ ::
@00E ake Ce 9*t o he !all Game. his well known baseball 'anthem' is played here in a spirited singalong style. Celody is played an
o3tave lower in 2nd 3hor*s. 1ey of $# mod*lating to :b.
@00? !edelia by ShwartF. A happy # lively stride pie3e in key of Eb. $elti3 flavored interl*des thro*gho*t.
@00+ !ethena D a 3on3ert waltF by S3ott )oplin =1,0@>. he interest here is not only in m*si3 that has melodi3 3hara3ter and 3harm b*t in
what was perhaps the first tr*e waltF written in the ragtime idiom. he syn3opations of ragtime *sed in (7; time gave a fas3inating hesitant
effe3t to the m*si3. he first strain is repeated twi3e and *sed in brief for the finale# th*s giving the work a rondoDlike *nity. he forth strain
in & has the most marked ragtime 6*alities. he weak part of the work is in the long and labored mod*lation whi3h at times a3t*ally seem to
wander away from the key they are trying to get to# to make a desperate pl*nge at the end. 4t wo*ld have been better to make the 3hange in
one or two bars# in the S3h*bert style. he length and inde3ision of the third transitional passage in parti3*lar holds *p the nat*ral flow of
the pie3e witho*t adding anything of real interest or pleas*re. 4n spite of this# !ethena is an en3hanting and ha*nting work and one of the
most *n*s*al waltFes to have been written. !ethena8 A $on3ert -altF. S3ott )oplin. Saint Bo*is8 . !ahnsen %iano Cfg. $o.# 1,0@.
@00, !ill !ailey # -on5t 0o* %lease $ome "omeG by "*ghie $annon. =%*b. /ew 0ork8 "owley# "aviland . :resser# 1,02>. "*ghie
$annon was a top 3omposer of the late 1+005s who teamed *p with )ohn H*een to write many hit dan3e songs. his initiated a series of !ill
!ailey songs by vario*s 3omposers# and !ill !ailey is still played by 2aFF bands today.
@010 !inks5 -altF by S3ott )oplin =1,0@>. his has none of the ragtime flavor of !ethena and attempts to be little more than a waltF in polite
Ii3torian vein# its 3over s*ggesting that it was either intended for or to be abo*t 3hildren. 4ts melodies have a ni3e )oplines6*e flavor with
one or two interesting twists.
@011 !ird 4n A G*ilded $age =G 1,0@> by IontilFer ". his was a favorite of the Ragtime serenaders in /ew 9rleans. hese little
'or3hestras' were 3omposed of mandolin# bass# and one or two Spanish g*itars . hey wo*ld stand on the ban6*ette o*tside any home at
night and sing# and before long they wo*ld be invited in# and an imprompt* party wo*ld begin. 9ther $reole n*mbers they wo*ld sing
in3l*ded Bes 9gnons# EhA Be !as# and "ot ime in the 9ld own.
@012 !ohemia by )oseph Bamb =&ebr*ary 1?# 1,1,. %*b. by Stark C*si3 $o.# St. Bo*is>.
Cost advan3ed *se of tonality in Bamb# with the key in se3tion A not s*re *ntil the twelfth meas*re. A most *n*s*al beginning# starting in
the minor mode and ending *p in the ma2or. he gra3e and 3harm of the ! se3tion is a3hieved by the s*btle *se of passing tones and
syn3opation 3rossing the bar lines whi3h enhan3es the deli3ate 6*ality. his se3tion also has an alternate 'ad lib' bass in o3taves at its
start. he high spirits of the $ se3tion gives way to an interesting b*t *n*s*al devi3e for a $lassi3 rag# the 12Dmeas*re interl*de leading to a
repeat of the $ se3tion D a throwba3k to an old 3akewalk pattern# m*3h as )oplin did in E*genia. he repeat marks indi3ate that the interl*de
is to be in3l*ded in the last repeat. A thoro*ghly delightf*l rag.Str*3t*re8 4/R9 AA !! A $ 4/ERBJ:ED$ 4/ERBJ:ED$
@01( !owery . his is a medley of pop*lar singalong t*nes from the Ragtime Era. 4n3l*des !owery# :aisy# :aisy and more.
@01; A !reeFe from Alabama8 A Ragtime wo Step by S3ott )oplin. %*blished 8 Saint Bo*is8 )ohn Stark . Son# 1,02. )oplin had 2*st
arrived in St. Bo*is# and had been h*miliated in 3*tting 3ontests with other pianists playing his own pie3es like Caple Beaf Rag in a more
virt*osti3 and varied style. )oplin5s answer was an '45ll show yo*A' D so he a33elerated his 3omposing# with ; pie3es released in one year =A
!reeFe from Alabama# Elite Syn3opations# Stren*os Bife# and he Entertainer >
@01@ Give Cy Regards o !roadway by $ohan. George $ohan was an a3tor# singer# dan3er# playwright# 3omposer# dire3tor# and
prod*3er. "e dominated the Ameri3an theater at the beginning of the 20th 3ent*ry. As a 3hild he appeared in his family5s va*deville a3t. he
&o*r $ohans. At age 1? he was managing the a3t and writing va*deville sket3hes and songs. "is first f*llDlength play# he Governor5s Son#
opened in /ew 0ork in 1,01. his fastDpa3ed mi<t*re of pop*lar song# 3omedy# and melodrama set the standard for s*bse6*ent $ohan
prod*3tions. Bittle )ohnny )ones =1,0;> introd*3ed two of $ohan5s most end*ring songs# '45m a 0ankee :oodle :andy' and 'Give Cy
Regards to !roadway.' $ohan was a patriotK his t*nes '0o*5re a Grand 9ld &lag' and '9ver here' were -orld -ar 4 favorites.
4n 1,2(# $ohan took on a serio*s role as a se3ondDrate variety performer in he Song and :an3e Can. en years later he gave what many
3riti3s 3onsidered the finest performan3e of his 3areer as /at Ciller in E*gene 95/eill5s Ah# -ildernessA $ohan also appeared as &ranklin
Roosevelt in 45d Rather !e Right =1,(?>. "is a*tobiography# wenty 0ears on !roadway and the 0ears 4t ook to Get here# appeared in
1,2@. A film =0ankee :oodle :andy# 1,;2> and a !roadway m*si3al =George CA 1,E+> were based on his life.
@01E he $as3ades D a rag by S3ott )oplin =A*g*st 22# 1,0;. )ohn Stark . son# St. Bo*is>. -ith s*preme 3onfiden3e this rag is
des3ribed on the 3over as 5he Casterpie3e of S3ott )oplin5. 4ts p*bli3ation was ba3k in the hands of )ohn Stark who had great a3*men in
these matters. $ertainly it has the right to be 3onsidered one of his greatest masterpie3es D if not the. 4t stands halfway in )oplin5s really
a3tive 3areer and while having some of the 3hara3teristi3s of Caple Beaf# e.g. the as3ending arpeggio phrase near the beginning and a forth
theme that has some harmoni3 affinities# it breaks new gro*nd in the third strain whi3h has a demanding bass part in o3taves that 3alls for
some good brassy or3hestration. he fo*rth se3tion has a very happy theme b*t it is the se3ond that is the real peak and whi3h inevitably
sets this pie3e swinging along. 4ts 53as3ades5 of notes on the G? 3hord and the inner movement of the following $ 3hords are not parti3*larly
3omple< b*t 3ertainly one of )oplin5s happiest inspirations. he rag has a programmati3 3onne3tion with the $as3ade Gardens that were a
notable feat*re of the St. Bo*is &air in 1,0;# a s3eni3 layo*t of waterfalls# fo*ntains and lakes. 4t is altogether a s3intillating pie3e that
engenders a 3onsiderable swing that we have not 3onne3ted with ragtime so far. 4t 3an be played# and often is# as a very fast pie3e# b*t the
third strain then often proves a st*mbling blo3k# espe3ially when or3hestrated. 4t is most effe3tive in a romping 6*i3k mar3h tempo of aro*nd
=1E+> =as played in the 5%rodigal Son55 re3ording> and with 3onsiderable bo*n3e. !lesh s*ggests that the pie3e asks for a grad*al
a33eleration and# tho*gh this is 3ontrary to 3lassi3 ragtime pra3ti3e# it does tend to happen witho*t damaging effe3t. his work is one of the
peaks of 3lassi3 ragtime# a point from whi3h its later developers 3o*ld take off and it has remained a firm favorite.4/R9 AA !! R49D
4/R9 $$ ::
@01? $astle "o*se Rag by )ames Reese E*rope. )im E*rope was one of the pioneers to invade so3iety5s '*pper fo*r h*ndred.' hese
were so3iety5s '*pper 3r*st' the Astors# Ianderbilts and Go*lds. Reese wo*ld perform at private parties for 1#000 dollars a night A = a big
improvement from the players at bars making E dollars a night >
@01+ $hampagne Rag by )oseph Bamb = September 1@# 1,10. Stark C*si3 $o. St. Bo*is. >
An elo6*ent rag in a light vein whi3h reveals ragtime5s link with the mar3h and 3akewalk forms. he A se3tion has a lovely melody with a
mar3hDlike 6*ality. 4n the ! se3tion that 6*ality is more insistent# with a des3ending 3hromati3 flow of the melody. $ se3tion has the stately
b*t sprightly 6*ality of the 3akewalk. -hen repeated# it has an added b*rst of optimism whi3h is more ri3hly s3ored# with the melody in
o3taves. A mar3h interl*de with dramati3 stopDtime effe3ts follows. -ith old world 3harm# it glides into the repeat of the A se3tion# b*t this
time in the s*bdominant# as in the str*3t*re of the 3akewalk. Str*3t*re8 4/R9 AA !! A $$ 4/ERBJ:E A 4/ERBJ:E A
@01, he $hevy $hase by E*bie !lake. = 93tober 2+# 1,1;. )os. -. Stern . $o.# /ew 0ork. >
he ! se3tion breaks away from A with great syn3opation. he high point in this rag is the trio.
Str*3t*re8 4/R9 AA ! A R49D4/R9 $$
@020 he $hrysanthem*m D an AfroDintermeFFo by S3ott )oplin=Saint Bo*is8 )ohn Stark . Son# 1,0@>.
5Afro5 simply meant /egro in these termsK in fa3t# there is something of the Gotts3halkDe<ploited $reole element in this 3harming work.
aken at easy =120> the flowing opening se3tion is light and gay. he intermeFFo 3onnotation be3omes 2*stified in the third se3tion marked
dol3e whi3h is yet another of )oplin5s happy and 3ompletely individ*als inventions. A $ minor interl*de whi3h seems to be leading
somewhere# leads# *n*s*ally# to a repeat of the dol3e third se3tion after whi3h the pie3e is firmly marked E/: with a firm final 3hord. 9ne is
not e<pe3ted or allowed to ret*rn to the earlier strains. his firm ro*nding off of the pie3e is# oddly eno*gh# something we have hardly met
before in )oplin# at least in the rags# and shows his in3reasing awareness of form and se6*ential rightness.
@021 $leopha D a mar3h and twoDstep by S3ott )oplin=1,02>. A fairly ordinary mar3h with 2*st eno*gh spirit in it to allow it to s*rvive. 4t
might seem that )oplin was s*ppressing his nat*ral instin3ts to write in white vein or was *sing *p *nwanted ragtime material in straight
style. 4t almost seems that# in spite of himself# the last strain very nearly be3ame a bit of ragtime. 4t be3ame a part of the So*sa band
repertoire so it at least had the merit of 3arrying )oplin5s name aro*nd the 3o*ntry and into white Ameri3a.
@022 $ontentment Rag by )oseph Bamb = )an*ary 10# 1,1@. Stark C*si3 $o.# St. Bo*is. >
-ritten as a present for the Starks5 wedding anniversary in 1,0,# it wasn5t p*blished then be3a*se of Crs. Stark5s illness whi3h lead to her
death in the following year. 4ll*strating a more s*bd*ed side of Bamb# it makes a perfe3t 3o*nterpart to Ethiopia Rag. he ! se3tion 6*otes
two meas*res of Caple Beaf5s ! se3tion b*t 6*i3kly ret*rns to the body of the development. 4n an *n*s*al design# the $ se3tion is *sed as
an introd*3tion to the : se3tion =as Caple Beaf Rag5s A se3tion introd*3es the !>. his is a most delightf*l se3tion whi3h is striking in its
strength and grande*r. Str*3t*re8 AA !! A $ ::
@02( $otton ime by $harles :aniels. :aniels had written the fab*lo*sly s*33essf*l "iawatha D A S*mmer 4dyl in 1,01 *nder the
pse*donym of /eil Coret# and it had made him independently wealthy.
@02; $o*ntry $l*b D a ragtime twoDstep by S3ott )oplin =93tober (0# 1,0,. Seminary C*si3 $o.# /ew 0ork>.he 3over portrays a
gentleman in f*ll h*nting gear on his horse a33ompanied by one e<ha*sted looking ho*nd. %erhaps the two 3ro3het 3hords in $ with their
&L 3r*shed note are intended to portray the 3all to the h*nt b*t in themselves they are not disting*ishedK nor does the entire pie3e manage
to find real inspiration. 4t a33epts the average rag speed of =1@2> and mi<es strains that s*ggest both dan3e and song. Seemingly like earlier
works# this is an advan3ed working o*t of syn3opated mar3hes 3ontrasted with longDflowing balladDlike melodies. C*3h of the treble voi3ing
is in thirds =espe3ially the ! se3tion>. Se3tion : 3ontains an early e<ample of a written 'break.' he 'break' is a m*si3al interr*ption whi3h
separates m*si3al ideas within a phrase and whi3h 2aFF bands feat*red as a performan3e tri3k rather than as a 3ompositional devi3e. he
ma2or ragtime 3omposer to *tiliFe the break as an integral part of the 3omposition was# of 3o*rse# )elly Roll Corton. Str*3t*re8 4/R9 AA
!! A $$ ::
@02@ $reole !elles by ). !odewalt Bampe. his 1+,? 3akewalk re3eived a big and lasting response. Bampe# the bearded # bespe3ta3led
bandmaster D was responsible# thro*gh his sensationally s*33essf*l to*rs# for the spread of 3akewalk syn3opation to E*rope# b*ilding *pon
the pop*larity of So*sa. A '3akewalk' is a walk that the person who performs the most *n*s*al steps wins a 3ake as a priFe. he '3akewalk'
style is a militaristi3 str*tting dan3e based on this promenade. his is played as a piano d*et here.
@02E :ill %i3kles by S3ott )oplin =and $harles :aniels>
@02? he Easy -inners D a ragtime twoDstep by S3ott )oplin=%*blisher8 S3ott )oplin 1,01>. &or reasons *nknown# Stark did not p*blish this
pie3e and )oplin had to be his own p*blisher. %erhaps his p*ritani3al nat*re 3o*ld not s*pport a pie3e that was written in vindi3ation of
sport# in3l*ding horseDra3ing. his is all in the 3overK the m*si3 is simply an easy on the ear# melodio*s rag in )oplin5s mot flowing vein. 4t
introd*3es a favorite and most effe3tive flattening of the !b and the Eb in the se3ond and third bars of the first strain and a forwardDlooking
=for its time> bit of 5nat*raliFation5 at the end of the se3ond. 4t floats along ideally at an easyDpa3ed tempo of abo*t =1;;>.
@02+ Elite Syn3opations by S3ott )oplin. = Saint Bo*is8 )ohn Stark . $o.# 1,02>. After several halfDhearted works Elite Syn3opations
3omes as a st*rdy# honestDtoDgoodness kind of rag that holds a promise of good things to 3ome. After a noDnonsense introd*3tion it has a
new kind of first strain that is faintly related to Caple Beaf b*t also looks forward to a good many ragtime songs that were to pop*late in
%an Alley. he se3ond strain is one of )oplin5s delightf*l simple pi33olo t*nes that lends itself ni3ely to baro6*eDstyle ornamentation and an
infinite variety of approa3hes. 4t is only modestly syn3opated by entirely memorable. he two final strains are pleasant and 3ompetent
witho*t being inspired# the last also having a hint of maple Beaf5s se3ond strain abo*t it. his parti3*lar rag might be pointed o*t as an ideal
starting point for aspiring pianists in the ragtime idiomK m*3h less finger stret3hing than he EntertainerK a sort of ragtime primer and
probably the easiest to play. Bike most# it is marked 5not fast5 and falls easily into the =1;;> tempo that many midDperiod )oplin rags hover
aro*nd# b*t it 3an be m*3h faster.
@02, he Entertainer D a ragtime twoDstep by S3ott )oplin =he Entertainer. :e3ember 2,# 1,02. )ohn Stark . Son# St. Bo*is>.his was the
n*mber one song on the 'top ten' pop*lar song 3harts d*ring 1,?; D a phenomenal o33*rren3e seventyDtwo years after it was p*blished.
Se3tion A feat*res an advan3ed *se of a pianisti3 3allDandDresponse pattern with dynami3 markings indi3ated by the 3omposer. 4n se3tion !#
the third and fo*rth meas*res a3t as a fillDin between the first two and the fifth and si<th# similar to arrangements of pie3es for string
or3hestra. 4n the rare twoDmandolinDandDg*itar arrangement iss*ed by Stark# the string 3on3ept is 3learly realiFed espe3ially in the trio. 4t
was even dedi3ated to ')ames !rown and "is Candolin $l*b.' )*st si< months after it appeared on sheet m*si3 3o*nters# Conroe ".
Rosenfeld# a prominent in %an Alley lyri3istD3omposer# wrote abo*t )oplin in the St. Bo*is GlobeD:emo3rat of )*ne ?# 1,0(8 '%robably the
best and most e*phonio*s of his latter day 3ompositions is he Entertainer. 4t is a 2ingling work of a very original 3hara3ter# embra3ing
vario*s strains of a retentive 3hara3ter whi3h set the foot in spontaneo*s a3tion and leave an indelible imprint on the tympan*m.' his
all*ring 3omposition has been one of the reasons for the *ps*rge of interest in )oplin and this 3ame abo*t partly be3a*se we heard it played
at a slow and balan3ed tempo by )osh*a Rifkin# and partly be3a*se it has responded so well to period or3hestral treatment. 4t is in a
3ompletely happy vein# restf*l# honest# folky b*t also bea*tif*lly 3onstr*3ted and entirely melodio*s. he simple variant of the typi3al ragtime
opening a*gers well and leaves *s on tiptoe. he first strain is leis*rely and the o3tave 3hords with an added interior third# altho*gh not easy
to play# probably have the intended effe3t of imitating mandolin 3hording D the pie3e was dedi3ated to )ames !rown and his Candolin $l*b.
Str*3t*re8 4/R9 AA !! A $$ 4/R9D2 ::
@0(0 Ethiopia Rag by )oseph Bamb. =/ot 3opyrighted b*t p*blished 1,0,. Stark C*si3 $o.# /ew 0ork>.
A startling 3hange of style from Sensation Rag. he trio is one of the most imaginative fo*nd in ragtime feat*ring varied bass patterns with
single notes as well as o3taves. he riff pattern here =meas*res @# E and ?> is *ni6*e. Str*3t*re8 4/R9 AA !! A $$ ::
@0(1 E*genia by S3ott )oplin =&ebr*ary 2E# 1,0E. -ill Rossiter# $hi3ago>. An in3redibly lovely work showing a growing mat*rity in dealing
with bea*tif*l melodi3 lines in ea3h se3tion. &or the first time# )oplin e<tends a m*si3al bridge between se3tions to the entire length of a
se3tion. "owever# this interl*deD$ interl*deD$ is among the oldest 3akewalk patterns. he fast bass o3taves in si<teenths midway in the A
and $ se3tions# as well as in the first ending of A# are similar to the embellishments in the handDplayed rolls )oplin made. his stylisti3
feat*re o33*rs in some of the earliest of )oplin5s rags# in3l*ding the trios for Swipesey and S*nflower Slow :rag =see also Carshall5s
remarks>. 4n an *npre3edented bl*rb# Rossiter advertised this rag as 'rather diffi3*lt.' he title was *ndo*btedly s*ggested by E*genia
Street# behind the Roseb*d in the St. Bo*is distri3t. -e will find a tenden3y from now on for )oplin to stiffen *p a little# moving 3loser to
a3ademi3 m*si3# with less of the early 2oyf*l freedom abo*t them and a more selfD3ons3io*s *se of 53lever5 harmonies. Some 3riti3s hail this
as a growingD*p# b*t there are always two sides to this 6*estion of nat*ralness vers*s artifi3e. Cost of the really pop*lar )oplin rags have
now been p*blished# whi3h is not to say that there are not still many masterpie3es to 3ome and several that manage to re3apt*re the old
3arefree gaiety. Early in 1,0E )oplin and his wife parted and this may well have had some effe3t on his 3reative o*tlook. E*genia bears the
legend 5p*blished for band and or3hestra5 and the new re6*irement# as ragtime be3ame more readily available in these forms# may also
have laid a hand of responsibility on the 3omposer. E*genia is an involved pie3e of writing that seems to be going thro*gh the motions of
ragtime witho*t ever dis3overing real inspiration D it 3o*ld have been written *nder 3onsiderable strain. %lay at slow mar3h tempo =120>
4/R9 AA !! A $ 4/ERBJ:E $ 4/ERBJ:E $
@0(2 E*phoni3 So*nds by S3ott )oplinD a syn3opated novelty =E*phoni3 So*nds. 93tober (0# 1,0,. Seminary C*si3 $o.# /ew 0ork>.
Core of a m*si3al e<er3ise# it is one of )oplin5s most ambitio*s 3reation. he entire 3on3eption ill*strates his heaviest leanings toward
E*ropean romanti3ism. he A and ! se3tions have eliminated the standard left hand of ragtime =93taveD$hord# 93taveD$hord>.
4nterestingly# the ending of se3tion A is similar to the 3omparable ending of A in %ine Apple Rag. ! se3tion is one of his most highDrea3hing
ragtime sele3tions. he *se of the minor tonality 3ombined with diminished 3hords and the *s*al ma2or tonality# gives this rag a wide variety
of e<pression# 3reating several moods. As its s*bDtitle immediately s*ggests# )oplin may have been 3ons3io*sly trying to es3ape from the
bo*nds of stri3t ragtime in this ambitio*s and interesting pie3e of writing. 4t looks different on the printed page. he 3*stomary ragtime
stride bass is pra3ti3ally absent# repla3ed by 6*aver and broken r*ns and syn3opated blo3k 3hords alternated. Str*3t*re8 4/R9 AA !! A
$$ A $9:A
@0(( he &avorite D a ragtime twoDstep by S3ott )oplin=)*ne 2(# 1,0;. A. -. %erry . Sons5 C*si3 $o.# Sedalia# Co>.Altho*gh p*blished in
1,0;# it was written in 1,00. 4n fa3t# the ! se3tion with its minor tonality =G minor> going to its relative ma2or =! flat> is similar to the writing of
the Ragtime :an3e# probably written at the same time. : se3tion harks ba3k to the A se3tion# very mar3hDlike. A growing refinement in
)oplin5s rags is absent from this item whi3h dates ba3k to earlier Sedalia days# having been bo*ght by the p*blisher in 1,00 b*t not
p*blished for fo*r years. he same p*blisher t*rned down Caple Beaf Rag. 4t is not parti3*larly disting*ished and with its triplets in the first
meas*re =whi3h don5t really s*it ragtime> has more of a mar3h 3hara3ter. 4t is marked 5slow mar3h tempo5 and seems right abo*t =12E>.
Str*3t*re8 4/R9 AA !! A $$ ::
@0(; &eli3ity Rag D a ragtime twoDstep by S3ott )oplin =with S3ott "ayden> =1,11. Saint Bo*is and /ew 0ork8 Stark C*si3 %rinting and
%*blishing $o>.he first two themes are probably by "ayden and )oplin adding a third strain# the only one that 3learly shows his
3hara3teristi3s. he whole work seems *nambitio*s and not parti3*larly disting*ished as tho*gh some remnants of earlier years had been
reworked.
@0(@ &ig Beaf Rag D a highD3lass rag by S3ott )oplin =&ebr*ary 2;# 1,0+. Stark C*si3 $o.# St. Bo*is>. A masterpie3e# )oplin5s geni*s is
evident everywhere# from the e<pansive 3on3eption# thro*gh the e<ploring $ se3tion# to the 2*bilant : se3tion. 4ts s*btitle# 'A "igh $lass
Rag' is 3ertainly apt. he *ne<pe3ted harmonies in the ma2esti3 : se3tion may be des3ribed as 3hromati3 writing# b*t it so*nds more as if
the whole idea was di3tated by the e<traordinary harmoni3 3on3ept. 4n general# )oplin was more of a pentatoni3 writer and *sed less
3hromati3ism than his dis3iple )oe Bamb. &ollowing two themes in early dan3e vein# the trio is an ambitio*s heavily 3horded passage and
the final se3tion has a 3horal 6*ality that foreshadows reemonisha. his and the ens*ing rags all indi3ate 3onstant e<perimentation on
)oplin5s part# sometimes s*33essf*l b*t mostly moving him somewhat *neasily from home base. 3. =1;;>. $*rio*s obsession with being
highD3lass already noted in the above primer# 3ontin*es in the s*bDtitle of this work. &ig Beaf Rag. Str*3t*re8 4/R9 AA !! A $$ ::
@0(E Gladiol*s Rag by S3ott )oplin .=September 2;# 1,0?. )os. -. Stern . $o.# /ew 0ork>. his 3losely follows the so*nd of the Caple
Beaf Rag# espe3ially in the A and ! se3tions. A 3omparison of the two reveals the 3hange in )oplin5s writing style. 4t has a grand air abo*t it.
Se3tion $ prod*3es most *n*s*al harmonies whi3h enlarge the s3ope of this fine work. As in Sear3h Bight Rag# this : se3tion harks ba3k to
the eb*llient ending. A wel3ome ret*rn to ragtime inspiration# Gladiol*s has some of the Caple Beaf 3hara3teristi3s# the as3ending arpeggios
and the se3ond strain notably# b*t now translated into poeti3al 5slow mar3h tempo5 terms# with a deli3ate and *nforgettable first strain and
s*btle harmonies thro*gho*t. Bike Caple Beaf it also employs the more Mdiffi3*lt keys of Ab and :b with good effe3t. his represents
)oplin5s s*33essf*l mat*rity# the whole pie3e having a logi3al se6*en3e of themes# gen*ine development and a sense of wholeness.
=120>.Str*3t*re8 AA !! A $$ ::
@0(? Gra3e and !ea*ty8 A $lassi3 Rag by )ames S3ott =/ovember 12# 1,0,. Stark C*si3 $o.# St. Bo*is>. Str*3t*re8 4/R9 AA !! A
R49D4/R9 $$ :: Jndo*btedly S3ott5s most brilliant ragtime work. 4n the finest $lassi3 rag tradition# this s3intillating 3omposition flows
smoothly from one se3tion to the ne<t# progressively developing fresh ideas. Se3tion $ starts with the e3ho devi3e whi3h is imaginatively
*sed again in the : se3tion.
@0(+ 0o* Cade Ce Bove 0o*. -ords by )oe C3$arthy# m*si3 by )ames I. Cona3o. Al )olson introd*3ed '0o* Cade Ce Bove 0o*' in
'he "oneymoon E<press' in 1,1(. he show marked the first time he appeared in bla3kfa3e# and the song established another trademark8
while singing it he got down one knee and stret3hed o*t his arms. "e did this simply to relieve the press*re on a very painf*l ingrown toenail.
A 6*arter of a 3ent*ry later# fifteen year old )*dy Garland sang the song to a photograph of $lark Gable in '!roadway Celody' of 1,(+#
whi3h la*n3hed yo*r film 3areer. 4n 1,;1 .# harry )ames had his first big hit as a bandleader with '0o* Cade Ce Bove 0o*'# 3opying )*dy5s
vo3al infle3tions on his tr*mpet be3a*se he liked the way she sang the song.
@0(, "eliotrope !o*6*et D a slow drag twoDstep by S3ott )oplin=w. Bo*is $ha*vin> =1,0? Saint Bo*is and /ew 0ork8 Stark C*si3 $o>. his
has been des3ribed as one of the masterpie3es of ragtime and was a meaningf*l and memorable 3ollaboration. Bo*is $ha*vin was a
dissipated yo*ng 3omposer and pianist# a $reole# who was to die at twentyDfo*r thro*gh the 3ombined effe3ts of syphilis and opi*m. )oplin
visited him and fo*nd him toying with two fine potential ragtime themes. hese# harmoniFed by )oplin with his *s*al skill# are the first two in
the workK to whi3h )oplin with his *s*al skill# are the first two in the workK to whi3h )oplin added two ideally mat3hing third and fo*rth strains#
des3ribed by -illiam !ol3om as 5an affe3tionate posts3ript5. he sens*o*s 6*alities that $ha*vin 3ontrib*ted make this an *ni6*e work in
the )oplin 3atalog*e. A tempo of aro*nd =1(+> s*its it very well. !*t !ol3om demonstrates its effe3tiveness at the m*3h slower pa3e of
abo*t =112> adding 3onsiderable r*bato.
@0;0 his is a medley of 4ndiana# &or Ce and Cy Gal# and Str*tter5s
@0;1 1ent*3ky !abe by A. Geibel. A gentle# whimsi3al pie3e in E7+.
@0;2 1ismet Rag by S3ott )oplin =with S3ott "ayden> =1,1( DSaint Bo*is8 Stark C*si3 $o>. !oth this and &eli3ity 3arry only the name of
)oplin on the 3over altho*gh S3ott "ayden is 3redited within. Again we find a threeDtheme rag with a varied form of A ro*nding things off to
make fo*r se3tions. As with the &eli3ity Rag it gives the impression of *sing *p old material b*t with 3onsiderably more s*33ess. 4ts t*nes
have a va*deville air abo*t them# minstrelDtype t*nes with one strain reminis3ent of he %rea3her And he !ear. empo D Abo*t =1@2>.
1ismet Rag. S3ott )oplin and S3ott "ayden.
@0;( Beola D a twoDstep by S3ott )oplin =/ot 3opyrighted b*t p*blished 1,0@. Ameri3an C*si3 Syndi3ate# St. Bo*is> . his has the
distin3tion of being the first )oplin pie3e to bear the f*ll health warning8 5/oti3eA :on5t play this pie3e fast. 4t is never right to play 'ragtime'
fast. A*thor5K and it has no introd*3tory bars b*t pl*nges straight into its first 5slow mar3h tempo5 theme. 4t also had the distin3tion of being
5entered at Stationer5s "all# Bondon# England5# the old way of establishing !ritish 3opyright# b*t no !ritish p*bli3ation has been re3orded. 4t is
a strange pie3e with the *nsatisfa3tory 6*ality of s*ggesting that )oplin# in his 6*est for ragtime progress# was stifling some of his nat*ral
viva3ity in favor of the more 3onventional strains of the parlor and 3on3ert hall. 4t is dedi3ated to Ciss Cinnie -ade. 4t was not a pie3e that
fo*nd m*3h pop*larity and was not redis3overed and restored *ntil the 1,@0s. 4t takes an easy tempo of aro*nd =120> whi3h allows its
sweet Spanish flavor to 3ome to the fore. Str*3t*re8 AA !! A $$ ::
@0;; Bily H*een D a ragtime twoDstep by S3ott )oplin =w. Arth*r Carshall> =1,0? D /ew 0ork8 -. -. St*art >.As if to 3onfirm a new fo*nd
faith and to*3h in ragtime# )oplin moves into several s*33essf*l 3ollaborations again D notably "eliotrope !o*6*et below. -ith# the 3over
s*ggests# a Gibson girl inspiration behind it# Bily H*een moves gra3ef*lly and 3harmingly thro*gho*t its 3omparatively simple strainsK the
first =perhaps the responsibility of Carshall b*t 3ertainly inspired by )oplin> ingratiatingly melodi3K the se3ond flowingK the third with some
interesting harmoni3 3ontrivan3es and anti3ipating "eliotrope !o*6*et. 4t is intended to end with its final strain. =tempo 1(E>.
@0;@ Cagneti3 Rag by S3ott )oplin. =)*ly 21# 1,1;. S3ott )oplin C*si3 %*blishing $o.# /ew 0ork. >
he final rag in the most disting*ished series of rags by a single 3omposer. E<perimenting to the end# he begins with a se3tion that
3ombines the 2oyo*s &olk rag style with a bittersweet 6*ality and follows with a ! se3tion in the relative minor whi3h 3hanges the rag to a
melan3holy mood. he 2;Dmeas*re $ se3tion is one of )oplin5s most moving# in3orporating downDhome bl*es elements with m*3h
syn3opation. he : se3tion in the parallel minor of A =! flat minor># is the most somber in all of )oplin5s rags. )oplin sensed that the rag
3o*ldn5t end that way# so he repeated the A se3tion twi3e. As if loath to say farewell to ragtime# he added a 2oyf*l 3oda with whi3h to be
remembered. 4n all# this is )oplin5s most a*tobiographi3al rag and 3ertainly one of the most moving in all of ragtime. -ith 3lassi3al styled
3over and marked allegretto ma non troppo# Cagneti3 Rag is a bea*tif*l# gentle and entirely memorable rag that has something of the
tran6*il air of he Entertainer abo*t it. 4t has a distin3tion of form that e6*als any of his earlier works# working from the simple opening
se3tion# thro*gh a strange G minor based interl*de# to a heightened and 3ompli3ated stomp# then thro*gh a 3*rio*s transitory passage
marked tempo l5istesso in !b minor# ret*rning most effe3tively to the original theme with an attra3tive 3oda added. 4ts range of moods# its
nat*ral moment*m# its sear3hing 3hara3ter s*ggest# too late alas# a breakDthro*gh to a $hopines6*e form of ragtime abo*t to be made.
Rifkin5s performan3e of this on his memorable first dis3 is the only one where one feels that he has perhaps not grasped the work5s f*ll
potential# perhaps taking it at too romping a gait. A tempo of abo*t =11E> is s*ggested.
Str*3t*re8 4/R9 AA !! $$ IAC% :: A $9:E
@0;E his is a medley of singalongs 8 Sweetheart and Can 4n he Coon by "enry Bodge. "e worked as pianist for 4rene and Iernon
$astle at $astle "o*se# where they gave private dan3e instr*3tions for very high fees. Bodge h*ng aro*nd the p*blishers5 offi3es where he
was hailed as a fine 3omposer of %op*lar rags. "is emptation Rag of 1,0, was an o*tstanding s*33ess# and was played most often in
va*devillle. "e led bands in va*deville and in dan3e halls. "e moved to Atlanti3 $ity# /ew )ersey# where his or3hestra played on the Cillion
:ollar %ier. 4n 1,1+ his wife died. 4n the early twenties he wintered in -est %alm !ea3h# &lorida# where his or3hestra played for the
wealthy. 4t was there he met and event*ally married his se3ond wife# 4rene. hey had three 3hildren D Sally# Arth*r and heodore. "e
started writing ba3kgro*nd m*si3 for films and# in 1,(0# lived in Bos Angeles while working for Jniversal and CGC. At the end of the year
his family moved ba3k to the /ew 0ork area# b*t 3ontin*ed to winter in -est %alm !ea3h where he *ne<pe3tedly died in 1,((.
@0;? Caple Beaf Rag by S3ott )oplin. =1+,,D Sedalia# Cisso*ri8 )ohn Stark . Son >&rom the m*si3al point of view it is a remarkable
3omposition. -e m*st ass*me that )oplin had written many *np*blished rags and e<perimented with the form in the blank period between
his early mar3hes and waltFes and the appearan3e of 9riginal Rags and this s*perb work in N1+,,. 4n general it e<hibits a firm grasp of
form# boasts an imperishable main melody# b*t parado<i3ally it is by no means a typi3al )oplin rag. 4n fa3t there is no other work of his really
like it in 3hara3ter apart from the devi3e of the as3ending arpeggios whi3h we find in the $as3ades and one or two other rags and the fa3t
that the se3ond strain is in the 5dan3e5 style that we have already en3o*ntered in 9riginal Rags. -itho*t 6*estioning the fa3t that it has
deservedly be3ome )oplin5s bestDknown and most performed work# it is still worth remarking that it is not ne3essarily among the best in his
tr*ly personal lyri3al vein. -hile *n6*estionably ragtime it nevertheless retains the tr*e nat*re of a mar3h and th*s has 3hara3teristi3s that
make it eminently s*itable for 2aFFDstyled performan3e =whi3h is indeed how we have most often heard it e.g. /ew 9rleans Rhythm 1ings=AB
(@(EO> and for straight performan3e by military band or or3hestra. Jnlike most of )oplin5s pie3es it is *nharmed by a brisk# even fast
performan3e whi3h has the effe3t of giving the very mobile and melodi3 leftDhand fig*re a 3ohesive life of its own whi3h greatly enhan3es the
3ontrap*ntal nat*re of the pie3e. )oplin5s own pianoDroll performan3e is very fast and most performers 3ome near to =20+> rate of knots
whi3h still leaves it openDte<t*red and 3leanDlimbed. aken slower it tends to fall to pie3es and most tardy performan3es seem 3*mbersome.
he first strain is a mira3le of perfe3tion# an inspirational phenomenon# harmoni3ally sophisti3ated yet 3ompletely *n3ontrived. Str*3t*re8 AA
!! A $$ ::
@0;+ Ceet Ce 4n St. Bo*is by 1erry Cills. 1erry Cills was a noted 3omposer of he Ragtime Era# and is 3onsidered to be the 'father of the
3akewalk' with hits like 'Rast*s on %arade =1+,@>' and 'At a Georgia $amp Ceeting =1+,?>'.
@0;, Cississippi Rag by -illiam ". 1rell. =1+,?D$hi3ago and /ew 0ork8 S !rainard5s Sons >. his is the first 3ompletely instr*mental rag to
appear in print. -illiam 1rell was a white or3hestra leader from $hi3ago. he rag# whi3h is in the form of an or3hestral fantasia# is made *p
of a n*mber of folk themes that most likely did 3ome from the river ro*stabo*ts. he integration of the separate themes into a 3ohesive
whole was the work of a skillf*l arrangerD 3omposer.
@0@0 Coonlight !ay by %er3y -enri3h. %er3y -enri3h =born 1++0 in )oplin Cisso*ri> was known as 'he )oplin 1id' in the 1+,05s. )oplin
was a -estern gambling and mining town on those days. %er3y performed in bars starting at the age of 12. "e then moved to $hi3ago# and
worked for 3ompanies that wo*ld provide 3*stom songs to 3*stomers5 lyri3s for 10 dollars a t*ne. %er3y wo*ld write 1@ songs a day for abo*t
a dollar per song. "e admits he wrote most of his m*si3 '2*st to sell'# and said that his biggest hits were 'the ones 4 had to fight the
p*blishers to take.'
@0@1 S3ott )oplin5s /ew Rag =Cay 1# 1,12. )os. -. Stern . $o.# /ew 0ork>.A magnifi3ent rag 3ombining the sparkling efferves3en3e of his
yo*th with the *nderstanding and mat*rity gained from his e<periments. An e<tended interl*de of minor and diminished 3hords leading to a
repeat of the A se3tion is 6*ite o*t of 3hara3ter for this rag# b*t wo*ld be appropriate# for e<ample# in E*phoni3 So*nds. 4n the midst of his
preDo33*pation with reemonisha )oplin t*rned o*t this last good rag in the old vein. 4t is 2oyf*l# melodi3 and with a good stomping bass that
takes *s ba3k to 9riginal Rags and Swipesey $akewalk days. he rondo form is again *sed and the original theme is *sed three times with
two other themes interspersed. 4t bears an *ne<pe3ted instr*3tion allegro moderato as if to mark the work of one who was now a 3omposer
of opera# b*t sho*ld 3learly be taken at =1@2> or even faster. Str*3t*re8 4/R9 AA !! A $$ 4/R9D2 4/ERBJ:E A $9:A
@0@2 he /onpareil =/one to E6*al> a rag and twoDstep by S3ott )oplin. =1,0?D Saint Bo*is and /ew 0ork8 Stark C*si3 $o>. he A se3tion
is s*rprisingly gentle and flows into the ! se3tion whi3h 3ontains a very b*sy left hand# interspersing rapid 1Eth notes between the
3onventional 93taveD$hordD93taveD$hord approa3h. 4n an effort to *nify this rag# )oplin *sed the same endings in both the ! and :
se3tions. Se3tion : has a marvelo*sly pretty melody and an infe3tio*s rhythm. A gentle pie3e in an earlier simple vein that may well have
been written previo*sly and rested in the Stark pigeonDholes. 4t has no spe3ial melodi3 distin3tion b*t a *se of a r*nning 6*aver bass in
parts of the se3ond strain is distin3tive and effe3tive. A slow mar3h tempo of aro*nd =120> seems to be indi3ated. /onpareil. /ot
3opyrighted b*t p*blished 1,0?.4/R9 AA !! $$ ::
@0@( 4n he Good 9ld S*mmertime by Evans# G. his favorite singalong is done here in the key of !b.
@0@; 9riginal Rags =%i3ked by S3ott )oplinK arranged by $has. /. :aniels> =Car3h 1@# 1+,,. $arl "offman# 1ansas $ity# Co>. A
bewit3hing# irresistible rag that ill*strates his geni*s with folk materials. Jntil this time# most 'rag' medleys 3onsisted of pop*lar songs
arranged for piano. "e transformed this format in his deb*t p*bli3ation from a simple piano song medley to a real piano ragtime medley#
3learly establishing his higher m*si3al ideals of syn3opated 3omposition. he A se3tion has a de3ided 3akewalk feeling mingled with the
minstrel ban2o pi3kings. he : se3tion is remarkable for its harmoni3 similarity to ". 9. -heeler5s A Iirginny &roli3 =A se3tion># by a strange
3oin3iden3e p*blished in 1+,+ by "offman. $o*ld :aniels have taken it and syn3opated it or did )oplinG he first )oplin rag to appear in
print# a33epted by the 1ansas $ity p*blisher who t*rned down Caple Beaf# it is the first of several of what we might 3all )oplin5s 5happy5 or
5dan3e5 rags# obvio*sly written with 3akewalking possibilities in mind. 4t has m*3h of Ameri3an hoeDdown fiddle m*si3 in its make*p. As in all
the )oplin rags the original 27; time tempo sho*ld be maintained thro*gho*t. -e 3an either say that it is *n*s*al in having five themes or
that )oplin evolved to a fo*r theme form inmost of his later rags# probably finding it more to his liken. 4ts first theme is similar to later pie3es
like he Ragtime :an3e# S*nflower Slow :rag and others that m*st be 3onsidered samples of )oplin e<ploiting the typi3al mar3h tempo
ragtime pie3es that were probably most 3ommonly *sed for dan3ing and general p*bli3 entertainment. he initial se3tion has a distin3tive
eno*gh melody b*t is foremost an essay in ragtime syn3opation with the fo*rth and fifth 6*avers of the bar 3hara3teristi3ally tied. Str*3t*re8
4/R9 AA !! $$ 1724/R9 A :: EE
@0@@ %alm Beaf Rag D a slow drag by S3ott )oplin =/ovember 1;# 1,0(. Ii3tor 1remer $o.# $hi3ago.
A fitting 3ompanion to -eeping -illow# this one shares a gra3e and elegan3e along with a sophisti3ated *se of anti3ipatory syn3opation
=most noti3eable in the $ se3tion>. Asymmetri3al phrasing =not only fo*nd in the A se3tion here b*t also in the : se3tion of -eeping -illow>
3ontrib*tes to the darker emotions e<pressed here and 3ontrasts ni3ely with the lighter 3ontent in the ! and $ se3tions. -ith its melan3holy
first s*b2e3t alternating tantaliFingly between !b and G minor# its 3ategoriFation as a 5slow drag5 and )oplin5s instr*3tions to 5play a little slow5#
this one wo*ld seem to 3all for abo*t =12;># allowing for s*btle emphasis in the melodi3 line. An element of poetry is grad*ally 3reeping into
the )oplin rags at this stage and we might even haFard a g*ess that this 3o*ld have had vo3al origins possibly intended for or taken from A
G*est 9f "onor. 4t has a splendidly 3ontrasted and individ*al melody in Eb for its third strain and it is good to find the high point 3oming at
this 2*n3t*re.
Str*3t*re8 4/R9 AA !! $$ 4/R9D2 AA
@0@E %aragon Rag by S3ott )oplin.=93tober (0# 1,0,. Seminary C*si3 $o.# /ew 0ork>. As if )oplin was 3ons3io*sly ringing all the possible
3hanges at this time# %aragon steps ba3k to harmoni3 simpli3ity and minstrelDinfl*en3ed plantation melody. Bovers of early )oplin will re2oi3e
at its flamboyant dan3e rhythms and 3at3hy melodies. 4t has a strong first theme and a se3ond whi3h leans on the traditional melody !*3ket5
Got A "ole 4n 4t whi3h# no do*bt# )oplin heard many times in his 3areer. he same strain has the rightDhand breaks or leadDins that were to
be3ome 3*rrent in ragtime songs of the ens*ing period# one of the hallmarks of m*3h ragtime pasti3he that was to follow# e.g. 3ompositions
by PeF $onfrey and the like. he third songDlike strain is 3learly marked 5trio5 and apes the typi3al band trio of the time. 4t seems to re6*ire a
speed of aro*nd =1(+> to =1;;>.he A se3tion harks ba3k to the A se3tion of -eeping -illow Rag# reminis3ent of the plantation era. Se3tion
! 3arries *s on to the Sedalia ragtime days# adding a break in meas*res ( and ; whi3h foreshadows a devi3e *sed by the /ovelty rag
3omposers =see $onfry5s 1itten on the 1eys>. $ se3tion is interesting not only for its blo3kD3horded left hand =similar to meas*res ,D1E of the
A se3tion of Caple Beaf Rag># b*t for *sing melodies 3alled for in reemonisha. Se3tion : 3ombines the flagDwaving of the older days with a
sophisti3ation fo*nd from 1,0? onward D a restrained b*t grandly tri*mphal ending. Str*3t*re8 4/R9 AA !! A $$ ::
@0@? %astime Rag /o. 18 A Slow :rag. by Artie Catthews. =1,1(D Saint Bo*is8 Stark C*si3 $o>.
An e<position of breaks# feat*red in all three se3tion. he *n*s*al and delightf*l A se3tion was boldly stolen by C*riel %ollo3k for her A
se3tion of Rooster Rag. Se3tion ! is basi3ally a &olk ragDstyle 3ir3leDofDfifths# b*t here arranged with the finesse 3hara3teristi3 of the
3omposer. $ is the 3lima<# with a sl*rred effe3t in the right hand whi3h is traded for a walking brokenDo3tave bass pattern in the variation.
hose broken o3taves hint of the boogieDwoogie bass whi3h wo*ld be prominently feat*red thro*gho*t the twenties. Str*3t*re8 4/R9 A !!
A R49D4/R9 $ $1
@0@+ %ea3herine Rag by S3ott )oplin =1,01> hat Caple Beaf had the effe3t of tr*ly establishing )oplin was held witho*t reservation by his
friend and p*blisher )ohn Stark who hailed him on the 3over of %ea3herine Rag as 5he 1ing of Ragtime -riters5. %ea3herine# apart from its
very pleasant and memorable first strain# is not a parti3*larly notable rag. 4ts opening =those fo*r bars that seemed to be a parti3*lar
3hallenge to the ragtime 3omposers5 ingen*ity> is not inspired and the se3ond strain indi3ates one of )oplin5s repeated failings in trying to
make something memorable of three or fo*r onDtheDbeat blo3k 3ords D altho*gh he did p*ll it off on3e or twi3e elsewhere. he third strain is
an *ns*33essf*l e3ho of Caple Beaf. Carked 5not too fast5 it seems to settle ni3ely at a tempo of abo*t =1;;>.
@0@, %earl of the "arem by "arry G*y. "arry G*y was a pop*lar m*si3ian in :etroit. "e helped *nioniFe the :etroit m*si3ians in the early
1,005s.
@0E0 %egas*s by )ames =September 1@# 1,20. Stark C*si3 $o.# St. Bo*is>. he trio *ses the same harmoni3 progression fo*nd in s*3h
later pop*lar songs as !irth of the !l*es and ip oe hro*gh the *lips. Str*3t*re8 4/R9 AA !! $$ 4/R9 !!
@0E1 %ine Apple Rag by S3ott )oplin. = 93tober 12 1,0+D /ew 0ork8 Seminary C*si3 $o>. his is among the very finest rags ever written.
An advan3ed way of handling folk material# the A se3tion is one of his happiest and brightest. he ! se3tion is e<tremely pianisti3 with a
solid *se of rhythm as the ma2or fo3al point of this se3tion. he $ se3tion 3hanges the emotional level to one of introspe3tion. 4n keeping
with this# note the *se of the minor seventh in the trio whi3h is the only time )oplin *sed s*3h an intense bl*es 3oloration. $hanging moods
on3e again for the last se3tion# )oplin 3leverly integrated the former mood while offering a more optimisti3 o*tlook. 4n the last two se3tions
=$ and :> the harmonies and *se of bass lines are e<tremely advent*ro*s. 4n a detailed analysis of ragtime 3omposition# on 3hara3teristi3
be3omes evident8 the intermingling of pentatoni3ism# 3hromati3ism# formal E*ropean traditions and bla3k folkDmaterials prod*3es moments
of the ri3hest bea*ty whi3h sometimes defy a oneDway analysis of what we hear. his ambig*ity arises from the strength of in3orporated
traditions# a synthesis of both bla3k and white so*r3es# and is at the same time one of the 2oys of ragtime5s art. &or e<ample# the most
moving idea in )oplin5s trio of %ine Apple Rag 3omes with the melodi3 and harmoni3 3oloration in the third meas*re whi3h 3an be heard
three different ways. A 2aFFDoriented listener wo*ld hear this idea as a bl*e seventh on the s*bdominant. 4f the melody line alone is heard#
one hears it as a flattened third. 4t 3an also appear as an enharmoni3allyDspelled German si<D3hord =see also the 3ommentary on Carshall5s
he %ea3h>.he third theme of this rag has the vo3al 6*ality that probably s*ggested its f*t*re *se as a song =see below>K otherwise a
strange 3hoi3e. 4t is not parti3*larly distin3tive e<3ept for a 2oyf*l and very ragged se3ond theme b*t is well eno*gh 3onstr*3ted and
s*bstantial.4/R9 AA !! A $$ ::
@0E2 %leasant Coments D a ragtime waltF by S3ott )oplin =1,0, D/ew 0ork8 Seminary C*si3 $o.#>.
A f*rther attempt# in the manner of !ethena# to write a ragtime waltF. 4t is by no means as ambitio*s or as intri3ate as its prede3essor#
sti3king to fo*r simple se3tions witho*t linking passages# nor has it the same melodi3 distin3tion. 4t has a gentle nat*re and 3onsiderable
deli3a3y# b*t one wonders whether the Seminary C*si3 $o. fo*nd m*3h sale for this kind of thing.
@0E( his is a medley8 %oor !*tterfly # 9nly Girl# and %retty !aby
@0E; he Ragtime :an3e D a song =w. S3ott )oplin> =:e3ember 21# 1,0E. )ohn Stark . Son# St. Bo*is>. 9riginally written as a folk ballet
with lyri3s# it was performed at -ood5s 9pera "o*se in Sedalia before the t*rn of this 3ent*ry. %*blished in this form by Stark in 1,02# it was
a 3ommer3ial fail*re. 4n an effort to re3o*p his losses# he iss*ed this instr*mental version whi3h eliminated a (2Dmeas*re verse. his is a
2oyo*s work and# in keeping with his other rags written in Sedalia# a most bea*tif*l ragtime n*mber. -e 3an be glad that )ohn Stark renewed
his faith in )oplin and in this 3ontentio*s song to reDp*blish it in p*re ragtime form =even if only to re3o*p his losses> for it# not *nnat*rally#
harks ba3k to the old Sedalia ragtime dan3e vein# *sing the se3ond dan3e se3tion of the song now as its first strain and tidying *p the final
stopDtime se3tion into something that makes a rioto*s piano showpie3e in any 3ir3*mstan3es. As the instr*3tions say8 5o get the desired
effe3t of 'Stop ime' the pianist will please Stamp the heel of one foot heavily *pon the floor at the word 'Stamp'. :o not raise the toe from
the floor while stamping.5 E<pli3it instr*3tions. he effe3t as the stop 3hords and fig*res move ba3k into a gen*ine driving stomp at the end
is e<hilarating. 5/ot to fast5 b*t it will hold the road safely at anything *p to =1E0>. -ith e<perien3e in not only ragtime# b*t mar3hes# waltFes
and a fair amo*nt of vo3al m*si3# )oplin was beginning to have ambitions to write something on a larger s3ale# 3ertainly an opera was
hovering very insistently in his mind. "is ambition for ragtime was bo*ndless. 4n this he and )ohn Stark did not see eye to eye. C*3h as
Stark admired )oplin and ragtime he wanted it to stay an *npretentio*s pop*lar m*si3 of solid worth# parti3*larly if it sold in the manner of
Caple Beaf Rag. )oplin5s first vent*re into an e<tended song and dan3e form was he Ragtime :an3e. Str*3t*re8 4/R9 AA !! $$ : E &
@0E@ Ragtime /ightingale by )oseph Bamb = )*ne 10# 1,1@. Stark C*si3 $o.# St. Bo*is > 9ne of the all too rare des3riptions of how a
great rag was inspired and set abo*t is )oe5s story of how he was inspired by S3ott5s Ragtime 9riole and the 3on3ept of a birdD3all rag. "e
didn5t know what a nightingale so*nded like# b*t it took a bit from $hopin5s Revol*tionary Et*de and another bit from Ethelbert /evin5s
/ightingale Song. "ighlight 3omes in se3tion A whi3h sets a ma2esti3 mood# largely in $ minor. Str*3t*re8 4/R9 AA !! A $$ 4/R9D2 !
@0EE Refle3tion Rag D syn3opated m*sings by S3ott )oplin =:e3ember ;# 1,1?. Stark C*si3 $o.# St. Bo*is>. his pie3e# obvio*sly in the
p*blisher5s files# was p*blished by Stark eight months after )oplin5s death on 1 April of that year. 4t is so *ntypi3al of )oplin that its
a*thenti3ity might be do*bted. At best it s*ggests an e<perimental pie3e whi3h he may have dis3arded. 4n a bl*rb when this was iss*ed#
Stark mentioned two more *np*blished )oplin man*s3ripts owned by him. hese were destroyed d*ring the 1,(0s when the family moved
their plant. Refle3tion is a pleasant rag with a 3hara3teristi3 final se3tion whi3h winds *p )oplin5s ragtime with a strong# optimisti3 feeling.
Str*3t*re8 4/R9 AA !! $$ :: EE
@0E? Rooster Rag by C*riel %ollo3k. =1,1? /ew 0ork8 )os. -. Stern . $o>.
@0E+ Rose Beaf5 Rag by S3ott )oplin =/ovember 1@# 1,0?. )os. C. :aly C*si3 %*blishing $o.# !oston>. A f*rther development of )oplin5s
3lassi3 rag style# deli3ate and ass*red witho*t a3t*ally a3hieving his *tmost memorability. he se3ond strain has a to*3h of originality abo*t
it. Se3tion A is a st*dy in 3ontrary motion in ragtime. Se3tion ! shows a highly developed syn3opation pattern for the piano. $ se3tion
works in the folk idiom with sophisti3ated harmonies. : se3tion follows the other 1,0? rags with a strong and happy finish. Str*3t*re8
4/R9 AA !! A $$ ::
@0E, Sear3hlight Rag8 A Syn3opated Car3h and wo Step by S3ott )oplin. =1,0?D /ew 0ork8 )os. -. Stern . $o>. 0et again )oplin pays
trib*te to his old friend om *rpin with a refle3ted memory of the gold mining days of *rpin and his brother $harlie in the town of
Sear3hlight# /evada# way ba3k in 1++1. 4t is a good striding pie3e with *rpines6*e rolling bass that anti3ipates the developing barrelDho*se
style. he fo*rth theme brings in a bit of dissonant h*mor. =1;;>. 9ptimisti3 and str*tting# the A se3tion looks forward to the brilliant %ine
Apple Rag. he $ se3tion is *n*s*al for )oplin as he swit3hes the syn3opation from right to left and ba3k to the right hand. he : se3tion is
in the old so3ko finish tradition with whi3h he ended his earliest works and whi3h be3omes a feat*re of all the 1,0?D+ rags.
Str*3t*re8 4/R9 AA !! A $$ ::
@0?0 Sensation Rag by )oseph &. Bamb. = 93tober +# 1,0+. Stark C*si3 $o.# /ew 0ork>.
he most interesting feat*re of the rag is the way pop*lar harmoni3 devi3es were *sed to 3onstr*3t a $lassi3 rag. Str*3t*re8 AA !! A $$ :
@0?1 !y the Bight of he Silvery Coon by Edwards. his favorite singalong is done here in the key of !b. /ote the *se of many different
stylisti3 te3hni6*es in playing the melody D in (rds# Eths# down or *p an o3tave.
@0?2 Slippery Elm Rag by $laren3e -oods. = :e3ember 2# 1,12. !*sh . Gerts %iano $o.# :allas>.
Se3tion A 3ombines three feat*res8 the 'threeDoverDfo*r#' an even flow of si<teenth notes and the syn3opation A and ! are 3hromati3
melodi3ally# and $ has a fine and *n*s*al break whi3h# with the indi3ated sl*rs# a3hieves a bl*es 6*ality. he whole 3omposition balan3es
3hromati3ism and bl*es writing to be3ome one of the most original rags ever written. Str*3t*re8 4/R9 AA !! $$ !
@0?( he Smiler Rag by %er3y -enri3h. =)an*ary 2# 1,0?. ArnettD:elonais# $o.# $hi3ago>.
"is best rag with fo*r strong se3tions of varying 3hara3ter. A has a fine folk flavor# ! feat*res a break# $ has a )oplin lyri3ism sin3e it is
stolen from his %ea3herine Rag trio# and : is highlighted by treble r*ns.
Str*3t*re8 4/R9 AA !! R49D4/R9 $$ ::
@0?; Sola3e D a Ce<i3an serenade by S3ott )oplin =1,0,D /ew 0ork8 Seminary C*si3 $o>.Employing a slow habanera rhythm in three of
its fo*r strains and also marked 5very slow mar3h time5# this is a diffi3*lt pie3e to give a 3orre3t speed to. Eviden3e tends to show that
)oplin5s ideas of slow may never have been as slow as many of the metronome markings we have given anyway. "is slow probably meant
slow in 3ontrast to the breakne3k speeds favored by so many flashy pianists. this is not to deny that there is a right sort of tempo for many
pie3es# di3tated by their nat*re# and whi3h might even go against what the 3omposer originally indi3ated. Sola3e 3an be# and has been#
played at tempos in the andante range aro*nd =112> and its lang*oro*s melodies are e<tremely effe3tive handled like this. 4f this takes it
o*tside the stri3tly ragtime field# no matterK it is a tangD or Ce<i3an serenade# f*ll of ardor and warmth. -as it perhaps in trib*te to the
sola3e that his new marriage had bro*ghtG -hatever its motivation Sola3e is a wonderf*lly effe3tive pie3e of writing# his only one in tango
rhythm. he ad2e3tive 5Ce<i3an5 may not a33*rately refle3t its tr*e origins whi3h were more probably $*ban# the sort of m*si3 that
Gotts3halk had heard on his travels and whi3h 3ame into Ameri3a via its trading ports. 4t 3an be 3ompared with Gotts3halk5s So*venir de la
"avane. 1nown in early Ameri3an m*si3al parlan3e as the tangana# the first known /egro p*bli3ation in this form was )ess %i3kett5s he
:ream whi3h was played at $hi3ago -orld &air in 1+,(. )oplin might also have 3ome a3ross -ill ". yer5s Caori# p*blished in 1,0+. 4f this
motivated him into trying his own hand at tango rhythms# the res*lt was predi3tably a pie3e in *nmistakable )oplin style that bore no 3lear
relationship to anything that had gone before.
@0?@ Something :oing D a 3akewalk mar3h by S3ott )oplin =1,0(>.
A pleasant b*t 6*ite restrained rag that might be said to 3ontain nothing that )oplin had not attempted before. A flowing melodi3 line with a
memorable first strain# mat3hed by an e6*ally flowing and attra3tive se3ond# after that fairly 3onventional. !*t it has an *ndemanding 3harm
abo*t it and ti3kled the ears of %eter $layton in 51; Ciles on a $lear /ight5 leading him to a highly fan3if*l a33o*nt of ragtime5s origins.
e<t*rally s*ited to a steady =1;;>.
@0?E St. Bo*is !l*es by -.$. "andy =1,12> . !l*es was first introd*3ed to the p*bli3 in 1,12# in the midst of the ragtime s3ene. he terms
'ragtime' and 'bl*es' were inter3hangeable at that time. -.$. "andy was regarded as the 'father of the bl*es'# and labeled several of his
p*blished bl*es as rags. Cany other bl*es from -.$. "andy 3ontrib*ted to the bl*es 'fad' aro*nd 1,12.
@0?? St. Bo*is Rag by *rpin =/ovember 2# 1,0(. Sol !loom# /ew 0ork#> his was written to 3elebrate the Bo*isiana %*r3hase E<position#
better known as the St. Bo*is -orld5s &air# s3hed*led originally for 1,0(# b*t realiFed a year later. his is the most orthodo< of the *rpins#
with the *s*al $lassi3 rag key 3hange to the s*bdominant at se3tion $# whi3h is a typi3al melodi3 trio. "owever# A does not ret*rn after ! in
the most fre6*ent $lassi3 rag pattern. 4t feat*res typi3al *rpin fireworks# beginning with a bea*tif*lly syn3opated and very pianisti3 A
se3tion. here are breaks in both ! and $ se3tions =another pioneering feat*re in ragtime by the 3omposer>. : is the final display# sparked
with a blaFe of as3ending 3hromati3 r*ns# a fitting overt*re to 'that splendid s*mmer' in St. Bo*is. his is the first *rpin rage witho*t :. S.
:eBisle indi3ated as arranger. Str*3t*re8 4/R9 AA !! $$ ::
@0?+ Stoptime Rag by S3ott )oplin .= )*ne ;# 1,10. )os. -. Stern . $o.# /ew 0ork >. his appears in one sense to be a throwba3k to the
earlier Ragtime :an3e in whi3h m*si3al breaks are provided so the dan3ers5 stomping feet 3o*ld be heard. he stop effe3ts are indi3ated in
the s3ores of both n*mbers. Another *n*s*al feat*re is that there are seven different melodies of + meas*res ea3h# rather than the *s*al
three or fo*r se3tions 3ontaining 1E meas*res ea3h. r*ly an e<periment D one whi3h worked. he $ se3tion is *sed as a 3ontrast with long
lyri3al melody lines in the traditional 1EDmeas*re se3tion. 9n3e again )oplin 3ombines the ma2or and minor tonalities in one pie3e. And# for
on3e# the performer is permitted to play 'fast or slow.' he 3over artist took this literally and p*t a drawing of a 3lo3k on the front in a style
*nlively eno*gh to s*ggest that it had been stopped for many years. )oplin had in mind the footDstamping emphasis that we first
en3o*ntered in he Ragtime :an3e D 5 to get the desired effe3t of 'stoptime' the pianist sho*ld stamp the heel of one foot *pon the floor#
wherever the word 'Stamp' appears in the m*si35. 4t appears# to be e<a3t# 1?( times in the printed s3ore so# with repeats# )oplin probably
got a rakeDoff from the shoe repairers. -ith the stamps taking a prominent part and plenty of silent bars# the rag remains very m*3h an
e<er3ise in folk dan3e# entirely gay and rhythmi3al# probably *sing some e<isting melodies whi3h do not have the )oplines6*e distin3tion
abo*t them. -ith *n*s*al la<ity the playing instr*3tion is 5fast or slow5. 4t is an entirely free and Festf*l work and# again# in it one sees some
of the ideas that were then whirling in his head as reemonisha o33*pied so m*3h of his writing time. Str*3t*re8 AA !! A $$ :: EE :: &&
GG
@0?, he Stren*o*s Bife8 A Ragtime wo Step by S3ott )oplin.=1,02>. An *npretentio*s and not parti3*larly signifi3ant or effe3tive rag.
)oplin5s inspiration seems to have flagged a little in this one. here are ni3e to*3hes in the third strain b*t it never manages to really get off
the gro*nd.
@0+0 S*gar $ane D a ragtime 3lassi3 twoDstep by S3ott )oplin =April 21# 1,0+. Seminary C*si3 $o.# /ew 0ork>. )oplin5s liking for vegetable
and fr*ity titles 3ontin*es with this likewise e<perimental rag whi3h has a first flowing 6*aver theme evolving into dan3e syn3opation. 0o*
3an find e3hoes of halfDaDdoFen earlier rags in this pie3e D Caple Beaf and 9riginal Rags immediately 3ome to mind D b*t it has s*ffi3ient
melodi3 originality to stand on its own as a st*rdy and likable 3omposition. 4t or3hestrates well. Also a middleD3o*rse tempo pie3e of aro*nd
=1;;>. A3t*ally the first )oplin pie3e to have tempo marking Q =100> being s*ggested. )ohn Stark ob2e3ted to )oplin5s reD*se of the Caple
Beaf Rag format# as e<pressed in his personal ledger. hese remarks were probably intended for advertising bl*rbs or for *se in his
4ntermeFFo magaFine8 '/o one will perhaps ever s*rpass )oplin5s Caple Beaf# S*nflower or $as3ades b*t alas like all 3omposer do sooner
or later# )oplin is verging to the sear and yellow leaf. "is m*se seems to have been p*mped into inno3*o*s =si3> des*et*de# and his labored
efforts are b*t a rehash of Caple Beaf or some of his first n*mbers that no self respe3ting p*blisher wo*ld print. )oplin5s 3ase is pitif*l.
-hen he hawks a man*s3ript aro*nd and finally sells it for a few dollars D the ne<t p*blisher he strikes tells him# 5-hy 4 wo*ld have give yo*
R@00 for that5 D this keeps )oplin miserable and thinking that his last p*blisher is 3heating him. -e have several )oplin man*s3ripts that
were written before the spring of inspiration had r*n dry whi3h we will bring o*t from time to time.' A most interesting variation of Caple Beaf
Rag whi3h 3ontrasts ni3ely with Gladiol*s b*t even more ill*strates 2*st how fine an improviser )oplin was. o tie the se3tions together# as in
/onpareil# he *ses the same ending for ! and :. Str*3t*re8 AA !! A $$ ::
@0+1 S*nb*rst Rag by )ames S3ott = /ot 3opyrighted b*t p*blished 1,0,. Stark C*si3 $o.# St. Bo*is>.
9ne of the great 2oys of $lassi3 ragtime. he intensely pianisti3 $ se3tion has an as3ending break of triads that foretells /ovelty ragtime.
S3ott *n3anningly predi3ted spe3ifi3 t*nes in m*3h later pop*lar m*si3. his trio# for instan3e# is identi3al with a "erb Albert t*ne 3alled
Spanish &lea. Str*3t*re8 4/R9 AA !! A R49D4/R9 $$ !
@0+2 S*nflower Slow :rag D a ragtime towDstep by S3ott )oplin =with S3ott "ayden> =1,01D)ohn Stark . Son# >. 4f there is some e<3*se for
3onf*sing S*nflower Slow :rag with Swipesey as both e<ploit the same initial kind of melody# a slow version of the 3akewalk style of
ragtime# S*nflower t*rns o*t to be the more inspired 3ollaboration. Stark has told *s that )oplin worked on it 5d*ring the high temperat*re of
3o*rtship ... while he was to*3hing the gro*nd only in the highest pla3es# his geese were all swans# and the Cississippi water tasted like
honeyDdew ... a song witho*t words5 D a highly poeti3al and evo3ative appraisal. !*t well 2*stified. As !lesh has said8 4t is 5among the early
gems of ragtime5. 4t b*ilds from a memorable introd*3tory fo*r bars# thro*gh a 3onventional b*t memorable ragtime dan3e meas*re to a
delightf*l se3ond se3tion whi3h manages# as Stark s*ggests# to 3all for words# to introd*3e the e<3iting stomp element of Caple Beaf5s third
strain and to handle a blo3k 3hord s*33essf*lly by simply repeating the same three inversions of &?. After a fo*r bar mod*lation# the third
strain t*rns o*t to be one of the most ingenio*s and delightf*l that )oplin ever wrote# with 6*ietly 3ontrolled o3tave 3ro3het left hand and the
inspired *se of a nat*ral A in the !b? harmonies. Even the fo*rth strain# often the weak one in a )oplin 3omposition# has a ni3e floating#
3heerf*l air abo*t it. -e don5t know how m*3h 3redit S3ott "ayden sho*ld be given b*t it is an *n*s*ally distin3tive 3ase of 3ollaborative
rapport. Speed abo*t =1;;>.
@0+( Bet Ce $all 0o* Sweetheart by Beo &riedman. -ords by Crs. !eth -hitson. 4llinois born &riedman =1+E,D1,2?> was the 3omposer of
pop*lar instr*mental 'reveries#' 4ndian novelties# and 3akewalks in the t*rnDofDtheD3ent*ry mold. Crs. -hitson was a poetess from
ennessee whose verses appeared in magaFines. 4n 1,0, they 3ollaborated on 'Ceet Ce onight 4n :reamland' whi3h they sold o*tright for
a small fee to a p*blisher# only to wat3h it sell 2 million 3opies of sheet m*si3. he following year they wrote 'Sweetheart' whi3h sold @
million 3opies# b*t this time they5d been shrewd eno*gh to make a 3ontra3t for royalties on every 3opy sold.
@0+; Swipesy a 3akewalk by S3ott )oplin.=with Arth*r Carshall> =)*ly 21# 1,00. )ohn Stark . Son# St. Bo*is>. 4f the Swipesey 3ollaboration
with Arth*r Carshall seems pale after the glories of Caple Beaf it still has an endearing 3hara3ter with fo*r strains of simple# folky
t*nef*lnessK an *nambitio*s work as one might e<pe3t of a 3ollaboration# b*t eminently dan3eable and 2aFFable. he third se3tion is
parti3*larly attra3tive with a So*saDlike 6*ality abo*t it# a 3lassi3al des3ending# imitative melody of mathemati3al str*3t*re. his is the first
tr*e slow ragK spe3ifi3ally named as a 53akewalk5 it 3onfirms the variations of speed in this dan3e# obvio*sly being intended for some kind of
slow str*t in 3ontrast to the flashier than =1(2> and is still effe3tive as slowly as =120>.he title was s*ggested by a lo3al Sedalia newsboy
=whose photo is on the original 3over> who# Stark said# 'looked like he 2*st swiped something.' his has a simple folk spirit s*ggested by the
'3akewalk' title# b*t is a polished $lassi3 rag in form and ideas# having little to do with the 3akewalk tradition. An important highlight is the
lyri3al )oplin trio# bro*ght in with abr*pt 1EthDnote bass o3taves# m*3h like the embellishments on the handDplayed )oplin rolls. he final
se3tion is a 6*intessential &olk rag style stomper D Carshall at his best. Str*3t*re8 4/R9 AA !! A $$ ::
@0+@ he Sy3amore D a 3on3ert rag by S3ott )oplin =)*ly 1+# 1,0;. -ill Rossiter# $hi3ago>. he s*bDtitle 5a 3on3ert rag5 s*ggests )oplin5s
in3reasingly ambitio*s view of ragtime and its potential a33eptan3e in polite 3ir3les. he Sy3amore is notable for its interesting harmonies in
the se3ond se3tion and apt 3hoi3e of bass notes. 4t is a short pie3e that has something of the air of a ragtime et*de abo*t it.# A brisk mar3h
tempo Mof abo*t =1E0>. he most notable development is the treatment )oplin gives his A se3tion# whi3h is a breakthro*gh in Caple Beaf5s A
se3tion. he $ se3tion is a foretaste of a song in reemonisha. he : se3tion is *n*s*al for its time with its 3hanging harmonies and *se of
a diminished 3hord within s*3h a happy framework. )oplin e<periments with te<t*res of so*nd here and will develop it in later rags.
Str*3t*re8 4/R9 AA !! $$ ::
@0+E emptation Rag by "enry Bodge. =September ,# 1,0,. C. -itmark . Sons# /ew 0ork>.
An *ni6*e rag. he overall tonal plan re2e3ts the 3lassi3 splittingDinDhalf in favor of one ma2or key and its relative minor. his# 3ombined with
Bodge5s flair for long lyri3al lines# res*lts in an *n*s*ally 3ohesive and forwardDmoving rag. !*t the internal element that makes it a s*33ess
is a masterf*l *se of varied syn3opated patterns for ea3h se3tion. he ! se3tion introd*3es a different idea from A. Se3tion $ begins with
still another# yet also re3alls that of !. : f*n3tions as an interl*de of largely *nsyn3opated sta33ato si<teenthsK however# its one syn3opation
is derived from the opening $ pattern. his all lends a developmental air to the rag and 3ontrib*tes to its *nity. "is greatest s*33ess and
one of the biggest rag hits of its day# it was appropriately most always performed by a band. Altho*gh he 3omposed at the piano# he was#
from all a33o*nts# a good performer# b*t his rags did not be3ome pianisti3 *ntil 1,1?. Str*3t*re8 4/R9 AA !! A $ : 172$ !
@0+? i3kled to :eath by $harles ". "*nter. = Cay 11# 1,01 /ashville8 &rank G. &ite >A 2oyo*s# stomping deb*t. 4 is a typi3al /ashville
rage in that it 3ombines very ambitio*s syn3opation with simpler 3akewalk fig*res. his be3ame a pop*lar and standard rag# and remained
available on piano roll into the twenties. he $ se3tion is s3ored as (2 meas*res in the tradition of a mar3h. he (2Dbar strain# whether
derived from the pop song or the mar3h# persisted in ragtime thro*gh the /ovelty rags of the twenties. Js*ally the se3tion 3o*ld be s3ored
as 1E meas*res with two different endings of fo*r meas*res ea3h. 4n early rags# the (2Dbar strain is almost never repeated *ntil after an
interl*de is played. 4n later ragtime it was repeated immediately. Some of these do*bleD1EDmeas*re se3tions have different ideas in ea3h of
their last + meas*res. 4n two of the "*nter rags# in fa3t# they are even more asymmetri3al in phrasing# as well as in the total 3on3epts. 4n
these# the basi3 3on3ept overall is indeed (2 meas*res. Str*3t*re8 4/R9 AA ! $ 4/ERBJ:E $
@0++ -eeping -illow D a ragtime twoDstep by S3ott )oplin =)*ne E# 1,0(. Ial A. Reis C*si3 $o.# St. Bo*is>. his has the same restrained
folky atmosphere Mabo*t it as he Entertainer and its first strain is amongst )oplin5s most endearing efforts. Bike he Entertainer it benefits
from a slow# deli3ate approa3h and need not be played faster than =1(2>.he first two se3tions seem like a happy# 3arefree romp d*ring a
laFy# s*nny afternoon down So*th. !ea*tif*lly melodi3 and with 3lever *se of syn3opation it evokes different images D 2*st what )oplin
intended. A wonderf*lly 3onstr*3ted rag whose vario*s se3tions bring o*t differing emotions. Se3tion $ begins with a favorite bla3k folk
strain# best remembered in 5ain5t /obody5s !*siness 4f 4 :o. Str*3t*re8 4/R9 AA !! A $$ ::
@0+, 9n !anks of the -abash by :resser .
@0,0 -all Street Rag by S3ott )oplin =&ebr*ary 2(# 1,0,. Seminary C*si3 $o. /ew 0ork>.his begins )oplin5s e<perimental period and an
attempt to 3ontin*e his programmati3 m*si3 whi3h he began with he $as3ades. "e labeled ea3h se3tion# intimating a m*si3al des3ription8
A se3tion is entitled# '%ani3 in -all Street# !rokers &eeling Celan3holy.' ! se3tion is 3alled# 'Good imes $oming.' $ se3tion = the most
happily syn3opated in the entire rag> is titled# 'Good imes "ave $ome.' : se3tion is in the fine tradition of having a splendid and vi3torio*s
ending# *tiliFing tone 3l*sters and deliberately 3reating a &olk rag atmosphere for its 'Bistening to the Strains of Gen*ine /egro Ragtime#
!rokers &orget heir $ares.' here is a gentle# l*llaby 6*ality to the A se3tion# and the whole rag is of s*3h sensitivity and 3hara3ter that we
may infer a new 3ontentment by the 3omposer in the year of his s*33essf*l se3ond marriage# and the time of his settling permanently in /ew
0ork $ity. -hat his programmati3 preDo33*pations do prod*3e are some strains of 6*ite remarkable individ*ality that start to wander beyond
the bo*nds of stri3tly 3lassi3al ragtime. he initial 5melan3holy5 strain has a really emotional 6*ality abo*t it and# with its first fo*r bars
*tiliFing a habanera bass and deli3ate harmonies# it sets )oplin on a ri3h strain that he was to e<ploit more f*lly in his ne<t work. he third
se3tion 5Good times have 3ome5 has a distin3tly va*deville air abo*t it and s*ggests the theatri3al potential of )oplin5s f*t*re workK while the
final se3tion with its blo3k 3hords on the se3ond and si<th 6*avers of the bar# right in between the beats# is a new tri3k. Carked to be played
in 5very slow mar3h time5# -illiam !ol3om5s fine performan3e of it on his 5"eliotrope !o*6*et5 dis3 at aro*nd =120> seems 2*st abo*t
right.Str*3t*re8 4/R9 AA !! $$ ::