Rags from 1. 91. 0 to 1. All MIDI file contents and Wave/MP3 Audio recordings are Copyright . All Sheet Music and Album Cover images here have been restored or enhanced by Bill Edwards, and only the original sources are in the Public Domain (except where noted). Streaming resources for Van Dyke Brooke Rags and the Girl. Links to watch this USA Drama, Short Movie online. Unauthorized duplication or distribution of these proprietary files or associated digital recordings is a violation of copyright and patent law. They are for personal use and enjoyment of individuals only, and may be used on other sites only upon request for permission to do so. This site has been optimized for HTML5/CSS3 browsers released in 2. Listings are updated now and then. Last Update Left Click on title to play MP3 or thumbnail to View full size cover with MP3 Player. Knockout Drops - A Trombone Jag Frank Henri Klickmann - 1. This is the first rag by Kentucky native Klickmann, a composer who would amass a large body of compositions and arrangements, but leave us only scant information about himself. Knockout Drops has many facets that help it stand out from lesser rags of 1. The trombone influence referred to in the title, which may have come from Frank playing the instrument in his teens, is quite apparent in the left hand lines as there is a lot of octave movement along runs that resemble those of a slide trombone. The occasional skipped beats in the left hand also give it a little bit of the feel of a stop time piece, particularly during any brief returns to the more conventional oom- pah patterns. The trombone action slips into the right hand for the trio. The final section is a fun blowout with sliding patterns in both hands. I think the title better refers to the effect on the pianist rather than the listener, although it is a workout for everyone! Red Mouse Rag. Wilbur J. Piper - 1. 91. 0/1. The cover of Red Mouse Rag states, . Yet Red Mouse Rag sold at a pretty fair clip in its day. It was composed by a 1. Sidney, Ohio, who worked for his father who was a dry goods merchant. It is the only known work found by Piper, yet a rather fair quality piece at that. Largely scale- pattern driven in content, it wasn’t that hard for the average pianist to grasp as well. It was the sometimes- erratic syncopated rhythms that were the real challenge. The trio is slightly reminiscent of the familiar Frankie and Johnny melody that would be published a year later, and which was already a folk staple of sorts. It is punctuated with a bold interlude. In recent years, pianist and historian Dick Zimmerman had a computer mouse pad made from the cover. And if you don't like this fun little piece, well then rats to you. Aggravation Rag. This rag is the second of Cobb's solo piano works published by Walter Jacobs of Boston, and it proclaimed Cobb's versatility as a composer. 1915): In writing the scenario for . Mary Pickford Foundation is also the. While not easy to learn or to play, it was certainly worth the effort, and the way it is notated provides wonderful interpretation cues for amateurs and professionals alike. In essence, Aggravation Rag starts out as a Scott Joplin rag repeating the asymmetrical pattern found in the A sections of Maple Leaf Rag, Gladiolus Rag, Sugar Cane, and similar pieces. It is still, however, separated from them by the mixture of syncopations found in the second set of eight bars. The B section is more indicative of folk ragtime, but can trip up somebody who is not following the score carefully. The fluid harmonic structure of the trio introduces both variety and a little uncertainty as to the final key destination. A little aggravating to learn, but otherwise quite nice. That Hindu Rag George Linus Cobb - 1. Early on in his career Cobb showed a propensity for mood- setting ragtime. This was one of his earliest of the many descriptive genre pieces he would compose, in this case originally as a band piece, having been loosely associated with ensemble- friendly publisher, Walter Jacobs of Boston, for just over a year. In this case, his topic was the growing interest in adaptations of Eastern Music harmonies and riffs. Cobb showed great attention to detail in his writing, and it was probable that he was exposed to such themes while attending the music school at Syracuse University. His choice of chords right from the eight bar introduction take you to far off lands in Asia, India or Arabia. There are two somewhat tricky descending diminished chord patterns in the A section that only sound difficult, but are used to great effect. The B section is based in part on a famous melodic line using the modalities of Asiatic countries, later adapted by Carl Stalling for many Warner Brothers cartoons based in India or Asia Minor. The trio breaks away from the modality, and is more typical of dance music of the day, although with a written variation. Jacobs originally put this in a package of thematic film pieces for band and orchestra perhaps in 1. Having experienced some of the indigenous island music during this time, he was well equipped to integrate it into popular music styles when he moved to New York around 1. While he initially worked as a pharmacist, Dabney got Haytian Rag into print as a logical first choice, closely followed by Porto Rico, a piece which created a template for many composers of . While Panama penned by Will Tyers in 1. Porto Rico remains fresh and charming, and worthy of repeated performances. The introduction suggests the moderate tempo taken, and the unusual low octave melody in the A section immediately sets a tone of contrast throughout. As written, however, it has a little less of the . So part way into the B section of this performance, there is a shift into more of a habanera feel. On resuming the A section, a minor shift in syncopation creates a nice little choro. More liberties are taken on the flexible trio, including the addition of a minor rendition of that strain. The return to the A section starts with a fully expanded realization of the melodic line in higher octaves before returning to the final measures and the bookend coda. Who Let the Cows Out?
This piece, which may be best described as whimsical, certainly espouses that sentiment. Humfeld was a well- known Saint Louis, Missouri, pianist and vaudeville performer who's printed output was minimal, but judging by the number of copies of this piece still in existence, it must have seen success due to the sheer novelty of his product. His work continued as a theater pianist into the 1. He later went into real estate, then taught music at the high school level in Saint Louis. Who Let the Cows Out is undoubtedly the first piece with a break in it that prompts the pianist (or the audience) to . That cue in itself allows for many possibilities, given the types of noises cows tend to create. Due to MIDI limitations, I could not include a cow in the performance, but will let the listener fill in the proper sound. The first two breaks are where you include the ! And should you have any beefs, I'll be milking it for all it's worth, not just hoofing it! While some sources cite Vandersloot Music managing composer Harry J. Lincoln as the source for his rags, Fischler was quite real, not a pseudonym, and turned out a few easy to play minor hits for Vandersloot. The A section of Chili- Sauce clips along at a nice even pace, which is followed by an ambitious 8 measure repeated B section, really more of an interlude. However, he uses the exact same section as an interlude for the trio in the new key. In any case, this piece is certainly evocative of the name. I liked the first section so much I did another take on it at the end. So grab a tall glass of cold water and start up the Chili Sauce! Dittmar was an accomplished cover artist in both cartoon caricatures and fine landscapes. It was just a matter of poor subject matter, and it is not known if the art was suggested by Cohen, Dittmar, or possibly from a request by management at Vandersloot, perhaps even manager Harry J. Why the concept of the original cover was not retained is unclear, but it may have had to do with the specific locality that the piece was named for. That aside, the rag is simple yet engaging. Cohen was the resident ragtime musician, piano technician and teacher in Binghamton, New York from around 1. A black musician married to a white woman, he was highly regarded and respected in Southern New York state. Cohen was known for his performances at carnivals, movie theaters and similar venues. Riverside Rag was specifically composed for and dedicated to the Riverside amusement park on Riverside Drive in Binghamton, where the composer likely played. It has an opening section very similar to Charles Johnson's. Golden Spider which was also published by Vandersloot that same year. There are some unique aspects of Riverside Rag however, and it conveys some of that carnival atmosphere. The B section changes to the dominant key, not uncommon but effective in this instance. The trio is cast in a form similar to stop- time, but the chord progression echoes one that would be popular in Stride and Novelty Piano trios of the 1. There are certainly many underlying consistencies that nicely tie all three sections together. The Grizzly Bear Rag George Botsford (M) and Irving Berlin (L) - 1. Dancing and Ragtime have gone hand in hand since before the cakewalk was popular. In the first decade of the 2. Around 1. 91. 0 there was a desire by the public to join along with some of the more adventurous dances as well, and many venues opened up to both teach and host dances. As a result, several dance crazes were introduced over the next decade, including the Turkey Trot, Cubanola Glide, Fox Trot, and the Grizzly Bear. There were many more that were banned by dance organizers or from public venues in general because they involved grinding motions. The Grizzly Bear dance comes close since it involves some public bear hugging. I have done the Grizzly Bear in a session with the Flying Cloud Dance Academy, and if you think the Swim and the Mashed Potato are weird, well.. Botsford was very adept at turning out tunes that hooked the listener.
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