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Ragtime
Want to learn more about ragtime?
 Caprice Rag (James P. Johnson)
Johnson cut a piano roll for this jaunty rag in 1917. Two piano roll versions played by Johnson can be heard on a Biograph CD (BCD 150). Although very much a rag, you can hear a suggestion of the stride style that James P. was to make famous.
The Cascades (Scott Joplin)
Joplin was inspired to write this rag based on a water display at the 1904 St. Louis World's Fair. It was one of many "waterfall" pieces that were popular at the time.
Castle House Rag (James Reese Europe).
This rag (subtitled a fox-trot) was written by Europe for the then-popular dance team of Vernon and Irene Castle, whose image appears on the cover of the sheet music. The C-strain is a very captivating stop-time.
Cataract Rag (Robert Hampton)
A very interesting rag that illustrates the classical-music influence on some of the composers.
Charleston Rag (Eubie Blake)
Blake composed this rag in 1899, the same year Scott Joplin published "Maple Leaf Rag." "Charleston Rag" is considered to be among Eubie's finest compositions. It contains "tricks" galore, many of which became standard in later years. This MIDI was sequenced from Terry Waldo's transcription in the folio "Sincerely, Eubie Blake" (Hal Leonard, 1975). I heard Waldo play the piece at the 1998 West Coast Ragtime Festival. It takes a technician like him to pull it off.
Classic Rag (Eubie Blake)
A transitional rag written by one of the foremost writers of ragtime-cum-jazz.
Cleopha (Scott Joplin)
Described by Joplin on the sheet music as a "march and two-step," it has a discinct military patina.
Collins Street Rag (Paul Copeland).
This rag by Australian Paul Copeland has a bright, bouncy feel to it. Paul composes out well-structured, well-balanced and well-written rags. He promises to write more. Be sure to visit his very interesting and informative web site at http://www.geocities.com/Vienna/1153.
Country Club (Scott Joplin).
Published in 1909, this piece is subtitled "Ragtime Two Step" and we are instructed to play it in "Slow March Time."
Daintiness Rag (James P. Johnson).
This rag, which James P. wrote around 1914 and cut into a piano roll in 1917, features rolling tenths in the bass, a hint of the stride piano that was to come.
Dictys On 7th Avenue (Eubie Blake).
Terry Waldo, in "This Is Ragtime," writes: "[Eubie was] breezing through a course in the Shillinger system of music (a four-year program that he completed in two years) [and] composed 'Dictys On Seventh Avenue' as a demonstration of his understanding of modern musical principles." Eubie subtitled the piece "A Modern Rag."
The Easy Winners (Scott Joplin)
One of Joplin's better-known rags, "The Easy Winners" -- which was published in 1901 -- is an example of an early form of ragtime called "folk ragtime" (see Jelly Roll Morton's arrangement of "The Naked Dance" for another example of this genre). The echo effect in the D strain became a favorite device of rag composers.
Elite Syncopations (Scott Joplin)
Ed Berlin writes in his book, "King of Ragtime: Scott Joplin and His Era" (NY/Oxford: Oxford University Press, 1994), that "Right from the first phrase of the A strain, "Elite Syncopations" stands out as a new approach to ragtime. It forgoes the stereotypical ragtime left hand of bass-note/chord alternations in favor of a chromatic bass line in octaves, first ascending and then descending." Note also the use of folk material in the A and D strains in contraposition to the melodic B and C strains.
The Entertainer (Scott Joplin)
Along with "Maple Leaf Rag" by the same composer, the most famous rag of all..
Eugenia (Scott Joplin)
This elegant rag contains two Interludes that separate the three C strains.
Euphonic Sounds (Scott Joplin)
A curious experiment by Joplin. The composition contains very few "up-beat/down-beat" figures in the left hand. Some students of ragtime suggest that this structure would have been developed further had Joplin lived long enough.
Fig Leaf Rag (Scott Joplin)
One of the many "floral-theme" rags written by Joplin.
Flinders Street Station Rag (Paul Copeland).
Paul describes the source of this rag: "Flinders Street Railway Station is at the very centre of the Melbourne City shopping centre. From the station you can see just opposite St. Paul's Cathedral (Anglican Church) and opposite that Young and Jackson's' Hotel, a famous hotel in the area. Just down from the station is Crown Casino as well as the Concert Hall. All are within short walking distance of each other. From Flinders Street Station it is possible to take a train to just about anywhere in Victoria, sometimes by linking to other trains at other stations." Be sure to visit Paul's very interesting and informative web site at http://www.geocities.com/Vienna/1153.
Frosty The Snowman (Composed by Steve Nelson and Jack Rollins))
I downloaded this arrangement of "Frosty" I-don't-know-how-many years ago. I liked it because it sounded so Joplinesque. I stripped it down to its bare minimum MIDI data and sculpted it into the way I think it should sound.
Grace and Propriety Rag (George McClellan)
Written during the week of March 2, 1997, "Grace and Propriety Rag" was composed by McClellan (oldgeorge1@earthlink.net) specifically for entry into the Scott Joplin International Ragtime Foundation's 1997 Ragtime Composition Contest, for which it won Honorable Mention.
Hot House Rag (Paul Charles Pratt)
A foot-stomper. It has been suggested that Pratt anticipated novelty piano with this composition.
Hungarian Rag (Julius Lenzberg)
A take-off on Franz Liszt's Hungarian Rhapsody No. 2, this 1913 composition reflects the raggin'-the-classics fad that occurred during the Golden Age.
Introspection Rag (David Beattie).
David is an Australian who more than dabbles in composing rags -- he succeeds very well in writing intelligent and enjoyable music. David can be reached via e-mail at dandlbt@aol.com.
Junk Man Rag (C. Luckeyth "Luckey" Roberts)
A 1913 rag that carries a broad smile. It's been described as "sunshine bright" (Jasen and Jones in "That American Rag") and a "joyous romp" (Jasen and Tichenor in "Rags and Ragtime").
Leola (Scott Joplin)
Women -- as well as flora -- were recurring themes for Joplin. One wonders who all of those women were.
Lily Rag (Charles Hubbard Thompson)
A "black key" player (preferring A-flat, D-flat and G-flat), Thompson (1891 - 1964) was a product of St. Louis, Missouri. He turned professional at the age of twenty and went on to become one of the outstanding pianists of his generation. To wit, in 1916 he entered a St. Louis ragtime piano contest which had some sixty-nine participants and he placed first. He used "Lily Rag" as a cutting contest piece.
Luna Park Rag (Paul Copeland).
Paul Copeland, an Australian, sent me the raw MIDI file of this rag and asked me what I thought. I liked it instantly and went on to shape it. Paul is an accomplished musician who dabbles in everything from Bach to Joplin to experimental electronic music. "Luna Park Rag" is very Joplinesque; indeed, Paul followed the chord progressions of one of Joplin's rags to produce this one. Visit his very interesting and informative web site at http://www.geocities.com/Vienna/1153.
Magnetic Rag (Scott Joplin)
Considered to be Joplin's last published rag, this composition -- according to students of the subject -- is virtually an autobiographical statement. It combines elements of folk themes as well as "classic" rag figures. The use of minor-key strains reflects the meloncholy that Joplin must have been feeling at this time in his life. The C section, which is an unusual 24 measures long, hints at the master's "bluesy" mindset. I also suspect that "Magnetic Rag" is the longest such piece written by Joplin. It is fully 190 measures long. My version runs six minutes and twenty four seconds.
Manly Ferry Rag (Paul Copeland).
Manly Ferry leaves from Circular Quay (which is just next door to the famous Sydney Opera House) in Sydney and travels to Manly across the Sydney Harbour. Although there are many ferry rides from Circular Quay, the Manly ferry ride is one of the longest trips. The ferry travels very close to the Heads -- and the trip at this time can get quite rough. Manly is a favourite spot for tourists, boasting a great surf beach. Most of the ferries that leave Circular Quay have recently been updgraded. The rag itself is programatic. Section A says "All Aboard." Section B represents the ferry leaving the jetty on calm waters. In Section C the passengers are enjoying the scenery -- especially the yachts. Finally, in Section D there is rough weather and a big ocean swell at the Heads (represented by the melodic line that runs up and down the keyboard). Visit his very interesting and informative web site at http://www.geocities.com/Vienna/1153.
Maple Leaf Rag (Scott Joplin)
Classic ragtime at its best and arguably the most widely recognized rag ever written. It was one of Joplin's earliest efforts (1899) and became an instant success. It virtually defined the ragtime idiom in terms of structure and presentation. See Ed Berlin's "King of Ragtime: Scott Joplin and His Era" (NY: Oxford University Press, 1994) for an outstanding expository treatment of "Maple Leaf Rag."
Myer Music Bowl Rag (Paul Copeland).
Myer Music Bowl is one of Australia's cultural landmarks. This rag is structured as INTRO AA BB CC AA. Section A is fairly classic in nature. At the 20th bar (repeat bar) there is a pause with the right hand coming in on the fourth beat (two sixteenth notes). An ear-catching fermata is used. Section B is almost a study in ascending scales. The scales have a few "blue" notes that may be unexpected. Section C has an interesting bar where there are eighth-note triplets played with the eighth notes in the left hand. Section A finished the piece Visit Paul's very interesting and informative web site at http://www.geocities.com/Vienna/1153.
Oxley College Rag (Paul Copeland).
This is a ragtime tribute to the school at which Paul teaches, and a successful experiment in "improvisational ragtime" of sorts. Listen for familiar Joplinesque chordal structures and bass lines and hear Paul's novel approach to paying homage to the master. Also, visit his very interesting and informative web site at http://www.geocities.com/Vienna/1153.
Palm Leaf Rag (Scott Joplin)
Another of Joplin's "floral" designs.
Perfect Rag (Jelly Roll Morton)
Check out the repeat of the final strain. Only Jelly Roll could have written this piece.
Poor Jimmy Green (Eubie Blake).
Here's a good example of the "transitional" style of Eubie Blake. It's ragtime, yet it's not quite ragtime (to wit, unlike the overwhelming majority of rags, the whole piece is written in one key, uses tenths in the left hand and has arpeggiated bass lines). Blake was known for this type of music, which also very often incorporated a large number of "trick." Listen to his "Charleston Rag" for examples of these tricks.
Puffing Billy Rag (Paul Copeland).
Paul Copeland describes this rag: "Puffing Billy is a Victorian icon in the form of a very old steam train that runs weekly in the Dandenongs (mountains about 30 miles from the main city), about 10 miles from where we live.
"There is a 'Puffing Billy' restoration society, and each year there is a foot race for people to see if they can outrun 'Puffing Billy' -- they can't, but some get close.
"The 'Puffing Billy' excursion is a two-way trip through the Dandenongs. It is a lot of fun poking your head out of the carriages as the train goes clickety-clack. We have been on the trip a couple of times.
"I would like to say that my rag is the first 'Puffing Billy' rag, but -- to quote Winston Churchill -- that would be a terminological inexactitude. Some years back I typeset a 'Puffing Billy' rag for an Australian composer, so mine is probably the second.
"The sections have the following annotations:
"Section A: Easy going
"Section B: Off the Tracks
"Section A1: Safe again
"Section D: Admiring the scenery
"Section E: Homeward-bound after a very enjoyable day. (A very confident and exhilarating melody).
"The left hand in this section is harmonically correct, but the right hand is very discordant as the train runs off the lines and the driver tries to get the train back online.
"The last two chords are very discordant and unexpected (Copeland style here). Instead of the dominant tonic progression, I have used a major dominant seventh with an augmented fifth, followed by a tonic major seventh with an augmented fifth. The harmony is unresolved! (Perhaps this is the sound of 'Puffing Billy' breathing a sigh of relief at getting back to the station safely).
"Incidentally, the four-bar introduction is supposed to be the 'Puffing Billy' starting off. The harmonies here are definitely 'Copelandesque' with a minor triad simultaneously being played with a major triad, suitably voiced so as not to be too discordant."
Visit Paul's web site at http://www.geocities.com/Vienna/1153.
Radical Rag For Irwin (Paul Copeland).
I'm deeply honored that Paul chose to dedicate one of his rags to me. This rag veers . . . well . . . radically from the straight and narrow. Paul explains: "'Radical Rag For Irwin' is quite classic in structure INTRO AA B A1 CC INTRO D. (The intro going to D and not the A1 repeat is perhaps a little unusual). It is also reasonably classic in rhythm -- (the right hand). But that is where the similarities end!
"The left hand is very adventurous harmonically and moves around a lot, seemingly taking harmonic liberties at will! The right hand most of the time is doing it's own thing, with almost total disregard for the underlying harmony. The right hand in parts sounds almost improvisatory because of the unusual harmonies. In the last section [D] there are triplet figures, almost as if the pianist has made a mistake and is trying to get to the right note in time. However, to give the sections a sense of tonality and cohesion, for a couple of bars in each section I force the hands together harmonically at times in a purely classic outburst. Although these few bars are harmonically 'correct,' because they contrast so much with the discordant nature of the adjacent bars, the concordance is not that noticeable. The left hand rhythms get quite syncopated at times [16th 8th 16th 16th 8th 16th]. The key changes are C/D/C/E/C. Although these are the underlying keys that the sections are written in (as can be seen by the left hand harmonies) the right hand is very chromatic and often the chromaticisms are not 'resolved'.
"In the B section The right hand anticipates the left hand harmony but instead of anticipating it on the fourth 16th of a beat with a tie to the next downbeat, the right hand anticipates the harmonic change much earlier and on the beat, leaving the ear somewhat perplexed as to the tonality since a tension is created that isn't resolved for a whole bar."
Visit Paul's very interesting and informative web site at http://www.geocities.com/Vienna/1153.
Ragtime Dance (Scott Joplin)
A real foot-stomper and crowd pleaser.
Ragtime Nightingale (Joseph Lamb)
One of the most beautiful and lyrical rags ever written. If anything, this composition bears out Scott Joplin's admonition not to play ragtime fast.
A Real High-Class Rag (George McClellan)
Written by San Gabriel, California, composer George McClellan (oldgeorge1@earthlink.net), I think this sequence is John Roache's last MIDI arrangement.
St. Kilda Beach Rag (Paul Copeland).
St. Kilda Beach is an Australian playground that features rides, eats and the Scenic Railway. Paul used to go there as a kid to escape the insurmountable issues facing youngsters, such as school, household chores and shopping for clothes. Listen to the last strain and consider whether you can duplicate the perpetual-motion octave figures. Also, visit Paul's very interesting and informative web site at http://www.geocities.com/Vienna/1153.
Scott Joplin's New Rag
It was new when it was published in 1912; but, fortunately, Joplin went on to write many, many more compositions.
Search Light Rag (Scott Joplin)
A personal favorite of mine. I just love the last strain. I can't sit still when I hear it.
Stoptime Rag (Scott Joplin)
Stoptime was a popular technique of the era. Joplin almost forces you to clap your hands or stomp your feet. Brilliant.
Swipesy (Scott Joplin)
Who was Swipesy. Could it have been the kid on the cover of the sheet music with that mischievous look on his face? We'll never know.
The Sycamore (Scott Joplin)
According to Jasen and Tichenor ("Rags and Ragtime"), an experiment in textures of sound that will develop in later rags.
Sydney Opera House Rag (Paul Copeland).
Paul explains: "The Sydney Opera House is in the main harbour of Sydney, Australia, just before the Sydney Harbour Bridge. Many concerts are held there each year and you can't miss seeing the building if you cross the bridge or if you take a ferry ride. This is a very 'classical' rag. Of structural interest are the A, C and D sections, in which a type of 'leit-motif' is used in the form of two chords. In section A, the two-chord motif is an eighth note followed by a tied eighth note and then a flourish. In section C, the two-chord motif is an eighth note followed by a dotted quarter note and then a flourish. In section D, the two-chord motif is a quarter note followed by an eighth note All the above two-note motifs are chords moving upward. An interesting structure has emerged, I think. For the sake of contrast, section B is very different from the other sections." Visit Paul's very interesting and informative web site at http://www.geocities.com/Vienna/1153.
Tickle The Ivories (Wallie Herzer)
This rag, published in 1913, sounds Lisztian -- like a Hungarian Rhapsody -- the result of the fad of ragging the classics. Jerome H. Remick, who published this rag, also published Julius Lenzberg's "Hungarian Rag." Very popular, each of these rags sold over a million copies.
Weeping Willow (Scott Joplin)
A beautifully structured and jaunty rag that can't help but make one feel upbeat. It was written by the master during his most productive years, a period when he penned such gems as "Elite Syncopations," "The Entertainer," "Something Doing" and "Maple Leaf Rag." The four strains are related to each other through the use of common figures.
White Pass (George McClellan)
San Gabriel, CA, composer George McClellan (oldgeorge1@earthlink.net) wrote this easy-going rag while on vacation in Alaska. He arranged and sequenced it for two pianos. I merely put some finishing editorial touches on it.
Wild Cherries (Ted Snyder)
"Wild Cherries" was a major ragtime hit when it was published in 1908. The instrumental version alone sold over a million copies. Snyder (1881 - 1965) was a partner with Irving Berlin in the music publishing company Waterson, Berlin & Snyder. They were the publishers of Berlin's "Oh! How I Hate To Get Up In The Morning."
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