San Antonio Ragtime Society Meeting April 9, 2016 List of Performers And

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San Antonio Ragtime Society Meeting April 9, 2016 List of performers and music played Performer Title Composer Year Order Jimmy Drury Weeping Willow Scott Joplin 1903 1 Jimmy Drury Leola Scott Joplin 1905 2 Jack Love Bluffton Street Carnival Rag Verdi Karns 1899 3 Bill Thompson Ole Miss Rag W.C. Handy 1914 4 Luis Martinez Solace Scott Joplin 1909 5 Monty Suffern Creeks of Missouri Galen Wilkes 1983 6 Monty Suffern Bei Mir Bist Du Schoen Sholom Secunda 1932 7 Jack Love Lasses Lucy Thomas 1905 8 Bill Thompson Euphonic Sounds Scott Joplin 1909 9 Monty Suffern Half & Half Larisa Migachyov 2011 10 Monty Suffern Mississippi Rag W.H. Krell 1897 11 Jack Love Ashokan Farewell Jay Ungar 1982 12 (break) 12.1 John Lile Dizzy Fingers Zez Confrey 1923 13 Monty Suffern King Chanticleer Nat Ayer 1910 14 Jack Love White Seal Rag Kittie Hamel 1907 15 Monty Suffern Chicken Fried Steak Rag Larisa Migachyov 2007 16 Jack Love Weeping Willow (Note 1) Scott Joplin 1903 17 Monty Suffern Sobbing Sycamore (Note 1) Monty Suffern 2010 18 Luis Martinez The Entertainer Scott Joplin 1902 19 Bill Thompson Funny Folks W.C. Powell 1904 20 Jimmy Drury Palm Leaf Rag Scott Joplin 1903 21 Jimmy Drury Elite Syncopations Scott Joplin 1902 22 Monty Suffern Texas Fox Trot David W. Guion 1917 23 Monty Suffern Rose Leaf Rag Scott Joplin 1907 24 Jack Love El Choclo (Tango) (Note 2) Angel Villoldo 1903 25 Notes: 1. Sobbing Sycamore is a "companion rag" to Weeping Willow, and they were played concurrently. 2. This music was used for the 1952 hit song "Kiss of Fire" recorded by Georgia Gibbs..

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Scott Joplin: Maple Leaf
Maple Leaf Rag Scott Joplin Born: ? 1867 Died: April 1, 1917 Unlike many Afro-American children in the 1880s who did not get an education, According to the United States Scott attended Lincoln High School census taken in July of 1870, in Sedalia, Missouri, and later went to Scott Joplin was probably born George R. Smith College for several years. in late 1867 or early 1868. No Throughout his life, Joplin believed one is really sure where he was in the importance of education and born either. It was probably in instructed young musicians whenever northeast Texas. he could. Joplin was a self-taught Although he composed several marches, musician whose father was a some waltzes and an opera called laborer and former slave; his Treemonisha, Scott Joplin is best known mother cleaned houses. The for his “rags.” Ragtime is a style of second of six children, Scott music that has a syncopated melody in was always surrounded with which the accents are on the off beats, music. His father played the on top of a steady, march-like violin while his mother sang accompaniment. It originated in the or strummed the banjo. Scott Afro-American community and became often joined in on the violin, a dance craze that was enjoyed by the piano or by singing himself. dancers of all races. Joplin loved this He first taught himself how to music, and produced over 40 piano play the piano by practicing in “rags” during his lifetime. Ragtime the homes where his mother music helped kick off the American jazz worked; then he took lessons age, growing into Dixieland jazz, the from a professional teacher who blues, swing, bebop and eventually rock also taught him how music was ‘n roll.
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Maple Leaf Rag
Maple Leaf Rag Scott Joplin Unlike many Afro-American children in Born: ? 1867 the 1880s who did not get an education, Died: April 1, 1917 Scott attended Lincoln High School in Sedalia, Missouri, and later went to According to the United States George R. Smith College for several census taken in July of 1870, years. Throughout his life, Joplin Scott Joplin was probably born believed in the importance of education in later 1867 or early 1868. No and instructed young musicians one is really sure where he was whenever he could. born either. It was probably in northeast Texas, although Texas Although he composed several marches, wasn’t yet a state at that time. some waltzes and an opera called Treemonisha, Scott Joplin is best known Joplin was a self-taught for his “rags.” Ragtime is a style of musician whose father was a music that has a syncopated melody in laborer and former slave; his which the accents are on the off beats, mother cleaned houses. The on top of a steady, march-like accompa- second of six children, Scott niment. It originated in the Afro- was always surrounded with American community, and became a music. His father played the dance craze that was enjoyed by dancers violin while his mother sang or of all races. Joplin loved this music, and strummed the banjo. Scott often produced over 40 piano “rags” during joined in on the violin, the his lifetime. Ragtime music helped kick piano or by singing himself. He off the American jazz age, growing into first taught himself how to play Dixieland jazz, the blues, swing, bebop the piano by practicing in the and eventually rock ‘n roll.
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Historic Jazz Piano Styles in Live Performance, 1900-1940
Historic Jazz Piano Styles in Live Performance, 1900-1940 An Honors Recital (HONRS 499) by Mattnew A. Wilson Frank J. Puzzullo Ball State University Muncie, Indiana April 15, 1992 Graduation Date: May 2, 1992 -------- ---._--- ---"- \ "V,''''' • ",ISS This ~ecital is dedicated to the purpose 0: outlining the evolution of Jazz piano styles prior to about 1940. The empnasis is on tne niano as a solo instrument, a unique nositinn occu~ied by the piano since it can play both melody and accompaniment to its melody. T11e;)rogram notes are designed not to give a detailed analysis of each selection, but instead to nelp gUide the membe~s of tne audience in understanding the nistorical context, tne general stylistic traits of the pieces, a~l perhaps tne significance of particular key persons in the devel o~ment of Jazz piano styles. Tne selections themselves orogress chronologically, and they are carefully chosen to provide an in:eresting and varied program. The most important factor, noweve~, in considering whicn pieces to include is tne aCcurate representat1:m of tne various styles. The pieces C.hosen are tnose tnat seem to embody tne stylistic traits in the most easily perceived manner, because tne pur:l)()se ·of the recital is to demonstrate tnese early Jazz .Jiano styles to t11e aUdience. AI]. of tne nieces ryerformed are based on transcriptions of actual recordings. Sunflower Slow Drag -1901 • • • • • • • Scott Joplin (1868-1917) - Scott Hayden (1882-1915) With the emergence of ragtime comes the first genuinely American music. This new and unique music combines elements of brass band styles, European forms, and folk traditions.
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JOPLIN Copying of This Compact Disc Prohibited
CMYK NAXOS Playing Scott Time: 64:49 JOPLIN ൿ copying of this compact disc prohibited. • Made in Canada reserved. Unauthorised public performance, broadcasting and All rights in this sound recording, artwork, texts and translations 8.559277 (1868-1917) & Ꭿ 1 Rag-Time Dance: A Stop-Time Two Step 3:05 AMERICAN CLASSICS 2007 Naxos Rights International Ltd. 2 A Breeze From Alabama: Although Scott Joplin’s musical March and Two-Step 4:19 3 The Chrysanthemum: interests were considerably broader SCOTT JOPLIN: An Afro-American Intermezzo 4:42 than what could be expressed in 4 Peacherine Rag 3:47 ragtime – he composed two operas 5 The Cascades: A Rag 3:14 (Treemonisha is considered by many 6 Weeping Willow: A Rag Time Two Step 4:22 to be his masterpiece), a ballet, and 7 Gladiolus Rag 4:26 two orchestral works – he is best 8 Eugenia 4:40 9 The Crush Collision March 4:52 remembered today as the ‘King of the Piano Rags • 2 0 Reflection Rag: Syncopated Musings 4:51 Ragtime Writers’, the master of freely ! Magnetic Rag 5:21 syncopated and extraordinarily Piano Rags • 2 @ Swipesy: Cake Walk 3:22 inventive piano rags. This recording # Scott Joplin’s New Rag 4:03 includes the whirling, scintillating $ Rose Leaf Rag – A Ragtime Two Step 4:04 Stoptime Rag, the nostalgic Gladiolus % The Rosebud March 2:49 ^ Stoptime Rag 2:51 Rag, and Joplin’s last ever work for piano, Reflection Rag. Volume One is Benjamin Loeb, Piano SCOTT JOPLIN: available on Naxos 8.559114. DDD Recorded at the Performing Arts Centre, The Country Day School, King City, Ontario, Canada, from 5th to 8th August, 2005 Booklet notes in English Producers: Bonnie Silver and Norbert Kraft www.naxos.com 8.559277 8.559277 Engineer and editor: Norbert Kraft Booklet notes: David Truslove Cover picture: Collage of Scott Joplin sheet music covers NAXOS American flag, folk artist, 1880s..
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Wednesday Evening Began with One of the Few Glitches. a Purveyor Failed
Wednesday evening began with one of the few glitches. A purveyor failed to furnish the tent top that had been ordered to cover the Maple Leaf Park stage and seating area. A last-minute substitute was a nondescript but functional tent that looked as if it had seen one too many circuses, but the scheduled "happy hour" had to be cancelled. Terry Walled organized and emceed the informal concert that night. Thursday morning a "2000 Kick-Off Concert" featured Scott Kirby, Morten Larsen, Butch Thompson (alternately playing piano and clarinet) and emcee Terry Waldo playing the music of Jelly Roll Morton, often on dual pianos. The afternoon "Cradle of Ragtime" concert featured rags by Missouri composers. Pianists Ragtime Bob Darch, Jan Douglas, Scott Kirby, Bob Milne, and John Petley, and Trebor and Virginia Tichenor as a duo accompanied by Marty Eggers on bass, performed. The Skirtlifters, a string band led by banjoist Clark Buehling and also including a second banjo, cello, fiddle, and guitar, added variety. Petley's readings of Tom Shea's "Little Wabash Special" and Douglas's rendition of "Sleepy Hollow" were memorable. Dick Zimmerman capped the concert with, among others, Wilcockson's "Pride of the Smoky Row," explaining that Smoky Row was once a notorious stretch of Burgundy Street in New Orleans and that the subtitle "Q Rag" referred to the questions that prostitutes and clients ask each other upon being introduced. Thursday evening's dance was held in the Mo-Ag Theater on the fairgrounds. Elite Syncopation, a classically trained quintet from Connecticut comprising violin, clarinet/flute, piano, cello, and bass, supplied the music.
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Piano Works by African American Composers
Piano Works by African American Composers Thomas “Blind Tom” Wiggins - Thomas Bethune (1849-1908) A blind, slave pianist, autistic savant, musical prodigy from Georgia • The Battle of Manassas (1866) • The Oliver Gallop (1860) • Water in the Moonlight (1892) • Sewing Song (1889) • Rain Storm (1865) • March Timpani (1880) • Reve Charmant (1881) • Wellenklange: Voices of the Waves (1882) Scott Joplin (1867-1917) The “King of Ragtime”, an African American composer and pianist, achieved fame for his ragtime compositions • Great Crush Collision • Something Doing (1903) • Heliotrope Bouquet (1907) March (1896) • Weeping Willow (1903) • Fig Leaf Rag 1908) • Combination March (1896) • Palm Leaf Rag (1903) • Sugar Cane (1908) • Harmony Club Waltz • The Sycamore (1904) • Sensation (1908) (1896) • The Favorite (1904) • Pine Apple Rag (1908) • Original Rags (1899) • The Cascades (1904) • Pleasant Moments 1909) • Maple Leaf Rag (1899) • The Chrysanthemum • Wall Street Rag (1909) • Swipesy Cakewalk (1900) (1904) • Solace (1909) • Peacherine Rag (1901) • Bethena (1905) • Country Club (1909) • Sunﬂower Slow Drag • Blinks’ Waltz (1905) • Euphonic Sounds (1909) (1901) • The Rosebud March • Paragon Rag (1909) • Augustan Club Waltz (1905) • Stoptime Rag (1910) (1901) • Leola (1905) • Felicity Rag (1911) • The Easy Winners (1901) • Eugenia (1906) • Scott Joplin’s New Rag • Cleopha (1902) • The Ragtime Dance 1906) (1912) • A Breeze from Alabama • Antoinette (1906) • Kismet Rag (1913) (1902) • The Nonpareil (1907) • Silver Swan Rag (1914) • Elite Syncopations
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Suggested Levels in Scott Joplin's Piano Pieces
1 Suggested levels in Scott Joplin's Piano Pieces Compiled and annotated by Robert Edwards I am writing with my promised list of suggestions for approximate levels within the compositions of Scott Joplin. I have grouped the pieces I personally feel are worthwhile (that is, they have endured the test of time in their aesthetic merit, originality and general pianistic/expressive/pedagogic worth) into 3 main levels. While all Joplin pieces contain many octaves in the left hand, many have rapid, multi-octave passages in the right hand, which renders them more technically difficult, so I’ve placed them within higher levels. Obviously, these are merely my own suggestions, Joplin certainly never “leveled” his work, nor has anyone else to my knowledge. I hope the list is of use to you and to whomever you care to share it with. “Beginning” Pieces: -Peacherine Rag: While this piece features a trio section in A Flat, which is a daunting key for many students, the notes and chords fall nicely under the hands and are not exceedingly difficult to play once learned. -Weeping Willow: Easy to read keys (G and C) and, though it features concise, neat themes (the first theme is simply a G Major triad followed by another G octave/ major 3rd) , it contains secondary dominants as well as references to relative minor, etc, to bring about a lovely, multi-hued composition. There is ample opportunity for variations in the repeat of the last section. -Something Doing: Set in the keys of F and B Flat, it’s not especially complicated to read and is well within the grasp of a smaller hand (except for the ever-present LH octaves).
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Monty Suffern Several Assorted Pieces to Set the Mood
San Antonio Ragtime Society Play list for June 29, 2019 - Pre-meeting - Monty Suffern several assorted pieces to set the mood -Meeting - Monty Suffern Medley for the 4th of July: Liberty Bell, Stars and Stripes Forever, America the Beautiful, Stars and Stripes Forever (reprise) Bill Thompson My Hero 2002 Dale Hadley Mark Camann Flibertigibbet 2019 Mitch Meador Monty S. I Mark C. Marche Militaire -1826 Franz Schubert (duet) Coco Costello Dusting the Piano unknown (novelty) Henry Tam Beth en a 1905 Scott Joplin Henry Tam Cascades 1904 Scott Joplin Vance Strickland School of Ragtime, 1908 Scott Joplin (#'s 1 and 2) Alex Ko Champagne Rag (partial) 1910 Joseph Lamb Alex Ko Rubberplant Rag 1909 George Cobb Bill McNally Southern Rag Medleys Blind Boone (Strains from the Alley) 1908 (Strains from the Flat Branch) 1909 Bill McNally Rialto Ripples 1917 George Gershwin (with a bit of Chevy Chase mixed in) 191 4 Eubie Blake -Break- Monty Suffern Silent Movie: Two Tars, 1928 circa 1930 various - with Laurel and Hardy - (accompaniment- 24 songs from circa 1930) Chris Castillo Quarry Rag -2015 Chri s Castillo Chris Castillo Playland Rag -2016 Chris Castillo Henry Tam Gladiolus 1907 Scott Joplin Henry Tam Easy Winners 1901 Scott Joplin San Antonio Ragtime Society Meeting: April 27, 2019 List of performers and music played Performer Title Composer Year The Entertainer Weeping Willow The Ragtime Dance Jimmy Drury Scott Joplin The Easy Winners Leola Elite Syncopations Vicki McRae Red Rose Rag Percy Wenrich 1911 Bill Thompson Race Horse Rag Mike Bernard 1911 Vicki McRae & Cleopha - March & Two Step Scott Joplin 1902 Bill Thompson (duet - arr.
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Weeping Willow a Ragtime Two Step Sheet Music
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Classic Ragtime: an Overlooked American Art Form
Trinity University Digital Commons @ Trinity The Expositor: A Journal of Undergraduate Research in the Humanities English Department 2017 Classic Ragtime: An Overlooked American Art Form Daniel Stephens Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/eng_expositor Repository Citation Stephens, D. (2017). Classics ragtime: An overlooked American art form. The Expositor: A Journal of Undergraduate Research in the Humanities, 13, 109-119. This Article is brought to you for free and open access by the English Department at Digital Commons @ Trinity. It has been accepted for inclusion in The Expositor: A Journal of Undergraduate Research in the Humanities by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. 109 Classic Ragtime: An Overlooked American Art Form Daniel Stephens s Nancy Ping-Robbins observed, “Ragtime as a topic of real schol- arly pursuit [was] mostly ignored until the 1980s,” and most sources Apublished prior to that “were originally designed for a general audience.”1 Since Ping-Robbins wrote almost two decades ago, scholarly interest in ragtime has lessened again. This decline is unfortunate, since classic ragtime contains a high degree of complexity, blending the traditions of African American folk songs with the practices of nineteenth-century European music—seen especially in pieces composed by Scott Joplin, inventor and master of the genre—making it a topic rich for critical commentary. However, the genre was poorly received by the classical audiences, due both to its ties to popular music and its roots in African American culture, and it consequently did not receive the attention it deserved.
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