School of Ragtime

Abstract

REMARKS-What is scurrilously called ragtime is an invention that is here to stay. That is nowconceded by all classes of musicians. That all publications masquerading under the name of ragtime are not the genuine article will be better known when these exercises a r e studied. That real ragtime of the higher class is r a t h e r difficult to play i s a painful t r u t h which most pianists have discovered. Syncopations are no indication of light or trashy music, and to shy bricks at"hatefu1 ragtime"uo longer passes for musical culture. To assist amateur players in giving the "Joplin Rags" that weird and intoxicating effect intended by the composer is the object of this work.It is evident that, by giving each note its proper time and by scrupulously observing the ties,you will get the effect. So many are careless in these respects that we will specify each feature. I n t h i s number, strike the f i r s t note and hold it through the time belonging to the second note. The upper staff is not syncopated, and is not to be played. The perpendicular dotted lines running from the syncopatednote below to the two notes above will show exactly its duration. Play slowly until you catch the swing, and never play ragtime fast at any time. Slow march tempo (CountThis style is rather more difficult,especially for those who are careless with the left hand, and a r e prone to vamp. The first note should be given the fun length of three sixteenths, and no more. The second note is struck in its proper place and the third note i s not struck but is joined with the second a s though they were one note. This treatment is continued to the end of the exercise.

Scott Joplin: A Guide for Music Educators PART I—A Ragtime Life

“…America’s rediscovery of ragtime began in earnest with the publication of the book, They All Played Ragtime (Blesh & Janis, 1950), a work of nonfiction written to popular, not academic, tastes. Ragtime music was disseminated and discussed in wider circles after Joplin’s music was showcased in the 1973 movie, The Sting (Floyd & Reisser, 1984; Joplin, 1973; Nadeau, 1973; Reed, 1975; Shehan, 1986). Marvin Hamlish’s recording of Joplin’s “The Entertainer”—virtually unknown in Joplin’s time—cracked the top of Billboard’s pop and easy listening charts in 1974.…”