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Teaching Ragtime Packetteaching Courtesy Ragtime of Packetcarolmatzpiano.Com Courtesy of Carolmatzpiano.Com Teaching Ragtime PacketTeaching courtesy Ragtime of Packetcarolmatzpiano.com courtesy of carolmatzpiano.com Teaching Ragtime by Carol Matz carolmatzpiano.com © 2015 CAROL MATZ PUBLISHING © 2015 CAROL MATZ PUBLISHING Teaching Ragtime Packet courtesy of carolmatzpiano.com Teaching Ragtime carolmatzpiano.com by Carol Matz Ragtime in Context In the 1970s, there was a major ragtime revival, partly due to the popular movie The Sting. This revival was great for piano teachers and students since it opened up a whole new genre to further explore. The soundtrack to The Sting featured many Scott Joplin pieces, including “The Entertainer,” “The Easy Winners,” and “Solace.” The great Marvin Hamlisch created orchestrations of many of the ragtime pieces featured in the film. His versions are in a rather up-tempo, staccato style, which is an interpretation that has stuck in a lot of people’s minds whenever they think of ragtime. However, I want to emphasize that most of Joplin’s rags have a tempo marking that simply says “Not fast,” with no metronome “The Easy Winners” cover (1901) mark. Ragtime developed from marches, which are usually around 120 beats per minute. (Think of Sousa’s “Stars and Stripes listen to the Joplin recordings by pianist Forever” as an example). You might use Joshua Rifkin (especially his recordings of this march tempo as a guideline, but rags “The Entertainer” and “Gladiolus Rag”). can be played slower than this, especially The most defining characteristic of when Joplin indicates Slow march tempo. ragtime is a syncopated melody against a In addition to tempo, another ragtime steady left-hand accompaniment. To help performance issue to think about is the use students work on common syncopations of pedal, which is a bit controversial and found in ragtime, I’ve created the “Ragtime has no “right answer,” since pedal is not Exercises” pages found in this PDF. These indicated in the score. Most rags, in their exercises help students develop rhythmic original form, contain numerous octave- coordination between the hands, which to-chord jumps, and many performers use is essential for ragtime performance. pedal to bridge this jump (pedal down on the In addition to the exercises, I have also in- octave, up on the chord). In any case, pedal cluded an Early Intermediate to Intermediate is appropriate in slower ragtime pieces, such arrangement of the Joplin piece “The Easy as Joplin’s “Solace.” In mid-tempo rags, Winners.” Please enjoy using these free it’s up to the performer whether the piece materials in your studio! (Photocopying for should be staccato or more lyrical. Rags your own students is allowed, but please, can be beautiful pieces when interpreted no mass distribution or sharing online.) lyrically. If you’re interested in hearing some wonderful interpretations, you might Carol Matz © 2015 CAROL MATZ PUBLISHING Teaching Ragtime Packet courtesy of carolmatzpiano.com Ragtime Exercises carolmatzpiano.com by Carol Matz Overview Syncopation is an accent, or stress, on an upbeat, which is normally a weak beat. It is one of the most characteristic elements of ragtime, but it can be tricky for students to feel. The following exercises help develop rhythmic coordination between the hands, using three common syncopations. Practice Steps Be sure that students practice the following exercises slowly, eventually building to a moderate tempo. Ragtime should not be played quickly. 1 For each exercise, have the student practice hands separately first. 2 Before putting the hands together, have the student play the right-hand melody while the left hand taps quarter-note beats on his or her lap. 3 Have the student practice both variations of each exercise. The first variation uses blocked chords in the LH. The second variation uses broken chords. Exercise 1 Eighth notes tied between measures Variation 1 (LH blocked chords) 5 # œ œ. œ. œ œ œ œ. œ. œ œ œ œ. œ. œ & 4 œ œ œ œ w F . ? # 4 œ. œ. œ. œ. œ œ œ œ œ œ œ œ œ . ˙ œ œ œ œ œ œ œ œ œ œ œ œ 1 œ 4 œ1 œ #œ1 œ 1 1 2 3 3 2 3 5 5 5 5 Variation 2 (LH broken chords) 5 # œ œ. œ. œ . & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ w F . œ. œ. ? # 4 œ œ . œ . œ . œ . œ œ . ˙ œ5 #œ5 œ 1 œ œ 1 œ 1 œ 4 . 5 2 3 2 (Syncopation exercises based on Scott Joplin’s School of Ragtime.) © 2015 CAROL MATZ PUBLISHING Teaching Ragtime Packet courtesy of carolmatzpiano.com Ragtime Exercises, page 2 Exercise 2 Quarter note on the upbeat Variation 1 (LH blocked chords) 3 2 1 # . j j . 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 J J J J w F . œ. œ. œ. œ. ? # 4 œ. œ. œ. œ. œ œ œ œ œ œ œ œ œ . ˙ œ œ œ œ œ œ œ œ œ œ œ œ 1 œ 4 œ1 œ #œ1 œ 1 1 2 3 3 2 3 5 5 5 5 Variation 2 (LH broken chords) 3 2 1 . # 4 œ œ œ œ œ œ œ œ œ œ jœ jœ œ & 4 J J J J œ œ w F . œ. œ. ? # 4 œ œ . œ . œ . œ . œ œ . ˙ œ5 #œ5 œ 1 œ œ 1 œ 1 œ 4 . 5 2 3 2 Exercise 3 Eighth notes tied between beats 2 and 3 Variation 1 (LH blocked chords) 1 2 5 1 3 5 1 . # 4 œ œ œ œ œ œ œ œ œ. œ œ œ œ. & 4 œ œ œ œ œ œ œ œ w F. œ. œ. œ. œ. ? # 4 œ œ œ œ œ œ œ œ œ œ œ œ œ . ˙ œ œ #œ œ œ œ œ œ œ œ œ œ 1 œ 4 1 1 1 1 2 3 3 2 3 5 5 5 5 Variation 2 (LH broken chords) 1 2 5 1 3 5 1 # 4 œ œ œ œ. œ œ œ œ. œ œ œ œ. & 4 œ œ œ œ œ œ œ œ œ w F . œ. œ. ? # 4 œ œ . œ . œ . œ . œ œ . ˙ œ5 #œ5 œ 1 œ œ 1 œ 1 œ 4 . 5 2 3 2 © 2015 CAROL MATZ PUBLISHING Teaching Ragtime Packet courtesy of carolmatzpiano.com The Easy Winners carolmatzpiano.com (A Ragtime Two Step) Scott Joplin Arranged by Carol Matz Not fast 1 5 1 3 1 3 1 4 & b 4 œ œ œ œ j j Œ Œ œ œ œ œ œ œ œ œ œ œ œ F œ ? 4 ∑ Ó Œ œ œ œ œ Œ b 4 1 œ1 œ œ œ 4 4 1 2 4 3 1 3 1 2 4 . œ. œ œ. œ œ œ œ. & b ˙. Œ . œ ˙ #œ œ ‰ J ˙. f ? . b œ œ . œ1 œ œ œ œ . œ3 . œ . 5 7 .4 3 œ . œ . œ 2 . 4 . 1 2 2 1 1 1 3 œ œ. œ œ œ œ b #œ œ ‰ J nœ œ ‰ œ ˙ œ. & J œ œ œ œ œ #œ œ. ˙ . ? œ œ Œ Œ b œ3 œ œ. œ. œ œ5 - œ 10 . œ 4 3 4- . 1 2 . b œ œ. ‰ œ œ. œ. œ. œ ‰ œ nœ œ œ ˙. Œ & #œ œ J œ. J ˙. ? œ œ œ œ b œ1 œ1 œ 3 . 5 œ1 œ œ1 œ . œ œ œ. ˙ 5. 5. © 2015 CAROL MATZ PUBLISHING Teaching Ragtime Packet courtesy of carolmatzpiano.com The Easy Winners Page 2 3 13 4 2 2 4 3 1 1 3 1 2 œ œ. œ œ œ œ b œ ˙ œ. œ œ. ‰ œ œ œ œ. #œ œ ‰ J & œ. ˙ #œ J ? œ. b œ œ œ œ œ3 1 ˙5 œ5 . œ3 . œ. œ. 5 16 1 2 1 5 ˙. œ œ œ œ. œ œ œ œ j & b #˙. ‰ J œ œ œ œ œ œ œ. P ? j œ œ. œ. œ. œ. œ œ œ œ ‰ 5 œ 1 Œ b #œ 2 œ œ œ œ œ 3 1 œ œ œ œ 5 . 19 1. 2. 5 1 2 3 b œ œ. ‰ œ œ Ó . ‰ œ œ #œ & J œ œ. ˙ . ˙ J f ? œ œ œ. œ. œ œ . œ. b œ1 œ 1 œ3 œ1 . 1 œ2 Œ œ1 œ 2 . 5. œ5 >. 22 4 5 3 1 2 1 2 1 œ œ œ œ & b œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ Œ ? b œ œ œ Œ œ œ œ2 . œ . œ3 . œ. œ. œ. © 2015 CAROL MATZ> PUBLISHING Teaching Ragtime Packet courtesy of carolmatzpiano.com The Easy Winners Page 3 3 25 5 2 1 1 2 4 œ & b œ œ œ œ Œ Œ œ œœ ˙˙ Œ œ œœ ˙˙ p ? b œ 2 3 œ œ œ œ œ3 . œ bœ œ . œ2 . œ. œ. 28 4 1 2 3 1 2 b œ œ ˙ œ œ. œ œ #œ œ œ œ œ & Œ œ ˙ Œ œ ‰ J œ œ œ Œ f ? b œ œ œ Œ œ œ œ3 . œ . œ2 . œ. œ. œ. > 31 1 2 1 b œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ Œ Œ œ œ œ œ bœ ? b œ. Œ œ. œ. Œ Ó œ.
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