Ragtime Piano Roll by Scott Joplin on Apple Music you get what you order by jkc 37 kids, this is a PIANO ROLL. of course it's going to sound like one. i mean, it's hardly false advertising, look at the TITLE of the CD. people find this interesting for the same reason you can get jelly roll morton piano rolls. its a piece of history. this is excellent music. Nit Wits! by Fats W This IS Scott Joplin playing this tune. As Joplin played the piano the keys were punching holes in a roll of paper, hence "piano roll". Of course you can get better sounding recordings. This is a bit of history, so you have to appreciate it for what it is played on what it was. The playback occurs on a piano equipped to play piano rolls. The holes in the paper as it goes thru the piano playback causes the keys to hit the strings. This is as close to the real thing as it gets. This surpasses digital if you THINK about it, which some of the previous reviewers are incapable of doing. Great Album by 0ppy Most people do not understand what this album is relating to.

The sounds on this album are the true sounds of Ragtime. The music created here are on a piano roll. The music is going to sound different on purpose. Scott Joplin didn't play on a Stienway Grand Piano, he played on pianos that were found in bars. And this why I believe this album is true to his music. Biography Born: November 24, 1868 in Marshall, TX Genre: Jazz Years Active: '/0s, '00s, '10s Scott Joplin was "the King of Ragtime Writers," a composer who elevated "banjo piano playing," a lowly entertainment associated with saloons and brothels, into an American art form loved by millions. Born in Texas in either 1867 or 1868, Joplin was raised in Texarkana, the son of a laborer and former slave. As a child, Joplin taught himself piano on an instrument belonging to a white family that granted him access to it, and ultimately studied with a local, German-born teacher who introduced Joplin... Top Albums and Songs by Scott Joplin 1.

Scott Joplin | Biography & History | AllMusic google+ Artist Biography by Uncle Dave Lewis Scott Joplin was "the King of Ragtime Writers," a composer who elevated "banjo piano playing," a lowly entertainment associated with saloons and brothels, into an American art form loved by millions. Born in Texas in either 1867 or 1868, Joplin was raised in Texarkana, the son of a laborer and former slave. As a child, Joplin taught himself piano on an instrument belonging to a white family that granted him access to it, and ultimately studied with a local, German-born teacher who introduced Joplin to classical music. Joplin attended high school in Sedalia, MO, a town that would serve as Joplin 's home base during his most prosperous years, and where a museum now bears his name. In 1891, the first traceable evidence of Joplin 's music career is found, placing him in a minstrel troupe in Texarkana. In 1893, he played in Chicago during the Columbian Exposition was held, reportedly leading a band with a cornet.

Afterward, Joplin settled in Sedalia, worked with other brass bands and founding a vocal group called the Texas Medley Quartette. During an 1895 appearance in Syracuse, NY, the quality of Joplin 's original songs for the Texas Medley Quartette so impressed a group of local businessmen that they arranged for Joplin 's first publications. Around 1896, Joplin enrolled in Sedalia's George R. Smith College for Negroes to study formally, publishing a few more pieces in the years to follow. In 1899, publisher John Stark of Sedalia issued Joplin 's second ragtime composition, "Maple Leaf Rag." It didn't catch on like wildfire immediately, but within a few years the popularity of "Maple Leaf Rag" was so enormous that it made Joplin 's name; and Joplin earned a small percentage of income from it for the rest of his days, helping to stabilize him in his last years. By the end of 1899, Joplin presented his first ambitious work, the ballet The Ragtime Dance, at the Wood Opera House in Sedalia.

It didn't appear in print until 1902, and then only in a truncated form. Joplin moved to St. Louis in 1901, as did Stark, who set his new publishing venture up as "The House of Classic Rags." Joplin wrote many of the other rags he is known for during this time, including "The Entertainer," "The Easy Winners," and "Elite Syncopations." In 1903, Joplin organized a touring company to perform his first opera, A Guest of Honor, which foundered after a couple of months, leaving Joplin destitute. He had recovered well enough to appear at the 1904 St. Louis World's Fair to present his rag "The Cascades," which proved his second great success. Joplin also married for a second time to a woman who died only a few weeks into their marriage after a bout with pneumonia, plunging Joplin into another bout of despair. During a visit to Chicago in 1907 he renewed an acquaintance with the St. Louis pianist Louis Chauvin , who did not long outlast the visit.

Joplin utilized a strain drawn from Chauvin 's playing into the finest of his "collaborative" rags, "Heliotrope Bouquet." This was published after Joplin moved to New York in 1907. Stark had also resettled there, and they resumed their partnership to some degree, but Joplin also published through Seminary Music, likewise home to aspiring songwriter Irving Berlin . Through Seminary many of the best of his late works appeared, such as "Pine Apple Rag," the transparently beautiful "Mexican serenade" "Solace," and the harmonically adventurous "Euphonic Sounds." From 1911 until his death in 1917 most of Joplin 's efforts went into his second opera, Treemonishia, which he heard in concert but never managed to stage during his own lifetime. With his third wife, Lotte Joplin, Joplin formed his own music company and published his final piano rag, "Magnetic Rag" (1914), one of his best.

By this time, debilitating, long-term effects of syphilis were beginning to break down Joplin 's health, although he did manage to make seven hand-played piano rolls in 1916 and 1917; though heavily edited, these rolls are as close as one is likely to get to hearing Joplin 's own playing. One of them is W.C. Handy 's "Ole Miss Rag," which suggests that Joplin might have had a hand in its composition or arrangement. Joplin was tireless and selfless in his advocacy of his fellow ragtime composers, collaborating with James Scott , Arthur Marshall , Louis Chauvin , and Scott Hayden and helping to arrange others by Artie Matthews and the white New Jersey composer Joseph Lamb , whose work Joplin pitched to Stark. "Maple Leaf Rag" remained a constant in popular music throughout the Jazz Age, but the better part of Joplin 's work remained unknown until the "ragtime revival" of the early '70s, during which " Scott Joplin " became a household name and Treemonishia was finally staged by the Houston Grand Opera.

Although primary sources on Joplin 's music were still extant as late as the late '40s, today not a single manuscript page in Joplin 's hand still exists and only three photographs of him have survived, along with precious few first-hand quotations. Joplin died in a mental facility convinced that he had failed in his mission to achieve success as an African-American composer of serious music. Were he alive today, Joplin would be astounded to learn that, a century after his work was first printed, he is the most successful African-American composer of serious music that ever lived -- by far. Some of his works have been recorded hundreds of times and arranged for practically every conceivable instrumental combination, played by everything from symphony orchestras to ice cream trucks. For a couple of generations of Americans who have even never heard of Stephen Foster , the music of Scott Joplin represents the old, traditional order of all things American.

Biography - Scott Joplin, 1867?-1917: The King of Ragtime Music (VOA Special English 2006-05-28) Scott Joplin, 1867?-1917: The King of Ragtime Music Download MP3 (Right-click or option-click the link.) I'm Steve Ember. And I'm Barbara Klein with PEOPLE IN AMERICA in VOA Special English. Today we tell about the life and work of one of America's greatest music writers: Scott Joplin, the King of Ragtime. That song is called "Maple Leaf Rag." Scott Joplin wrote it more than one hundred years ago. The song changed Joplin's life. It was very popular. The composer earned a good living from the sales of the sheet music. He also became famous. But, even today, much about Scott Joplin remains a mystery. There is conflicting information about the most basic facts, like when and where he was born. Official population documents suggest Scott Joplin was born in 1867 and 1868. He was born in Texas, probably near the border with Arkansas.

The Joplins moved to Texarkana, Texas sometime after 1875 and Scott grew up there. Scott was the second of seven children born to Giles and Florence Joplin. His father was a freed slave who worked on the railroad. His mother cleaned people's homes. The whole Joplin family was musical. Scott's father played the violin. His mother played the banjo. And all the Joplins enjoyed singing together at home. Scott learned to play several musical instruments. But Florence Joplin wanted her son to learn how to play the piano. When Scott was about seven years old he began taking piano lessons with a music teacher at his school. The Joplins were poor, so Scott's mother paid for the weekly lessons with food. Florence Joplin also got permission for her son to use a piano in one of the houses she cleaned in Texarkana. Florence and Giles Joplin separated before Scott became a teenager. Some experts think Scott blamed himself for the break-up. Many experts also think Scott Joplin's opera "Treemonisha" included incidents of his life with his mother after Giles Joplin left.

For example, the character "Treemonisha" receives music lessons paid for by her mother who cleans people's houses. Listen to this aria from the opera. Carmen Balthrop is Treemonisha. Scott Joplin's early piano lessons did not include ragtime. That kind of music was played in dance and drinking places and was not considered acceptable.Scott first studied classical music with several teachers. They included a German immigrant named Julius Weiss who probably had the strongest influence on the boy. VOICE TWO: Scott left Texas when he was a teenager. He worked as a piano player and gave lessons in the guitar and mandolin. In his twenties he settled in Sedalia, Missouri. He formed a group called the Texas Medley Quartet. The group sometimes traveled great distances to perform. Scott Joplin began his music-writing career in Sedalia. He attended college classes to learn to become a composer. Joplin also got a permanent job in Sedalia playing the piano in a new nightclub. Sedalia's most important citizens visited the Maple Leaf Club. The job permitted Joplin time to write and play his own work. Something even more important happened to Joplin in Sedalia.

He met John Stark, the owner of a local music store. In eighty ninety-nine, Stark published the song "Maple Leaf Rag." It was not Joplin's first published music. But it was the he was most proud of. Stark offered to pay Joplin a percentage of each sale of "Maple Leaf Rag" sheet music. This was an extremely unusual business agreement for a white publisher and black composer at that time. Usually, white publishers paid only a small amount of money for full ownership of music written by African-Americans. The agreement was very good for both Scott Joplin and John Stark. Ragtime music is dance music. It combines a solid, often lively, beat with a looser, complex melody. Most experts agree that the traditional music and dance of American slaves played a big part in the development of ragtime. Here is a perfect example. Scott Joplin and John Stark published "A Breeze From Alabama" in 1902. It is music for a dance called the two-step. John Stark decided that Scott Joplin was going to become too popular to stay in the small town of Sedalia. He decided to move his music business to the big city of Saint Louis, Missouri.

Joplin moved to Saint Louis with a woman named Belle Hayden. Later they were married. But Joplin was not as successful in love as he was in music. He and Belle separated in 1902. Two years later Joplin married again. But his wife, Freddie Alexander, died just three months later. The Scott Joplin Organization in Sedalia, Missouri says Joplin wrote this rag, "The Chrysanthemum," for his second wife. After his wife's death, in 1905, Joplin wrote a concert waltz called "Bethena." The piece has a sad sound to it, quite unlike Joplin's earlier work. You might recognize it as the theme music for the Special English program WORDS AND THEIR STORIES. Joplin lived in many places in the years that followed. He also worked on his opera, "Treemonisha." He had hoped his longtime business partner John Stark would publish it, but he refused. Stark did not think a ragtime opera would sell. After 1907 Joplin lived mostly in New York City. He and his new wife Lottie tried for many years to get "Treemonisha" produced.

But its opening night did not come until more than fifty years after Joplin's death. By about 1915, Scott Joplin began suffering badly from syphilis. The disease robbed him of his ability to play piano. It also destroyed his ability to write music. He died in New York City in 1917. Scott Joplin left the world sixty musical works. These include many piano rags that are still played today. This program was written and produced by Caty Weaver. I'm Barbara Klein. And I'm Steve Ember. Join us again next week for PEOPLE IN AMERICA in VOA Special English. We leave you now with one of Scott Joplin's prettiest rags, "Heliotrope Bouquet." Ragtime Piano, Musical Origins What is a Rag? The Musical Origins of The Piano Rag When most of us hear the term "rag" or "ragtime", the musical image of a Scott Joplin work comes to mind. Though it is true that Joplin was among a small group of talented musicians who engineered the most lasting ragtime pattern, there are many songs that qualify as rags that do not sound like a Joplin style rag.

Several of the songs published on our site seem to follow the "Joplin model" (called The Missouri style) such as the Russian Rag ,(midi), Dynamite Rag , (midi) Frog Legs (Scorch) and Good Gravy (Scorch). Yet others sound different, not exactly like what we are accustomed to, for example The Frisco Rag , The Ragtime Engineer , and The Louisiana Rag . These rags may belong to the "Eastern Ragtime" style or may not even be rags in the classical sense. Even one of the most famous songs with a "ragtime" title, Alexander's Ragtime Band , is not a true rag. (To see the issues with these and other titles either visit our June, 1999 issue on ragtime or our June, 2001 issue available to view after June 1, 2001.) So what makes a rag a rag? Ragtime is a musical form or style that is defined as a syncopated melody (usually in 2/4 time) over a regular, march tempo bass line. Improvisation was common but little of that aspect has been preserved.

The most authentic evidence that may exist are the precious few piano roll recordings of rags being played by those who created the music. Ragtime is most commonly thought of as exclusively a piano form that reached its greatest popularity between 1897 and World War I. However, at the time, the ragtime label was also attached to other instrumental music, songs and dance music. The best instrumental ragtime works required a great deal of musical skill and reflected a high level of compositional sophistication. "Ragtime" songs on the other hand, were less focused on the musical correctness of the form but were more designed to appeal to the masses and popular trend. According to the New Grove Dictionary of American Music (see our recourcespage ), virtually all "classic" rags followed the formal structures established by earlier 2/4 and 4/4 meter dances. The march, two-step, polka and schottische dances were constructed with three or more separate 16 bar themes arranges in repeats and reprise patterns. As you listen to a Ragtime work, you can clearly see this pattern. Therefore, the most common patterns are AABBACC, AABBCCDD or AABBCCA.

Usually the first two strains were in the tonic and the additional ones were in the subdominant . Other characteristics include a sub structure of four bar strains repeated, four bar introductions to certain sections, an interlude between trio themes and a usual major key orientation. As you listen to some of the works we have presented or on other sites, listen for these conventional structures, you'll find them almost without exception in all "classic" piano rags. Rhythmically, the construction of rags were less rigid but maintained the most important element of syncopation which is the distinguishing feature that separates it from other contemporary music. That syncopation is generally recognized as a trait of Afro-American music. Ragtime's roots are in minstrel-show plantation songs, cakewalks, banjo playing, and black folk music; it also drew on, and recast in fresh ways, the chromatic harmonies of 19th century European music. Created by itinerant professional performers in saloons and honky-tonks, ragtime was ultimately disseminated by piano rolls and printed music.

The exact date ragtime emerged is debatable as there are distinct elements of ragtime in the music of Louis Moreau Gottschalk, especially in his work La Bamboula published in 1847. After 1885, march-patrols were appearing in minstrel shows that carried syncopated, raggy rhythms and minstrels around the country were syncopating songs. What many point to as the watershed event in the spread of ragtime was the 1893 Columbian Exposition in Chicago. Attended by over 20 million people, the Exposition exposed a large population to ragtime style music from the likes of Scott Joplin , Ben Harney, Shep Edmonds (1876-1957, often referred to as the "father of ragtime") and Jesse Pickett. Pickett's The Dream, is credited as the only rag specifically associated with the exposition and the earliest known classic rag. It was never published, however was recorded in 1896 by Eubie Blake who learned it directly from Pickett.

The first print reference in sheet music to "ragtime" was in the coon song , All Coons Look Alike To Me in 1896. The song had an optional arrangement called a "choice chorus" with "Negro rag accompaniment". Click the cover to see the score and hear the song in Scorch format, click here for the midi only. Be sure to listen all the way through as the "rag" chorus comes after the "regular" chorus. After the release of that popular song, it was only a matter of weeks before other similar songs began appearing with rag descriptors, the first of which was The Mississippi Rag published in 1897 by William H. Krell. Despite the emergence of these works, the predominant style that dominated the late 1890's was the Cakewalk. Cakewalks were derived from dances performed by plantation slaves and became popular as a theatrical presentation and ballroom dance. The music was usually un-syncopated but by 1897 began to assume syncopation associated with classic ragtime.

A large number of cakewalks were published before 1900 and many were published as "ragtime cakewalks". These works were added to the repertoire of many popular bands of the time, including John Philip Sousa's and their influence even migrated to Europe. At least one major European composer published a cakewalk that is still a popular work. Claude Debussy's Golliwog's Cakewalk is a syncopated work in the cakewalk tradition and is still played and recorded today. Though the cakewalk was technically not a rag in the classic sense, it evolved to become included and is considered a ragtime style work now. During this same period, a style of music began to emerge that was more pianistic and made more use of syncopation with a more rhythmic construction. In 1897, Tom Turpin published the Harlem Rag as one of the first examples of this style. Turpin was the first black composer to publish instrumental ragtime. His saloon, The Rosebud Bar in St. Louis became a gathering place for ragtime players.

The composers who congregated here and developed his style (including Joplin, James Scott and Joseph Lamb) are considered the classic or Missouri school of ragtime. Their music is considered a superior form of the style. The term "classic ragtime" actually was coined by the publisher John Stark who in the first decade of the 20th century began publishing works by Joplin, Lamb, Scot and others and billed them as "classic rags" and compared their quality to European art songs. As a result, classic rags are generally referred to as those published by Stark, Joplin and another composer, May Aufderheide who referred to her own Joplin inspired works as "classic" rags. Interestingly, during the heyday of ragtime, recognition of ragtime and the term was limited. It was only through later revivals of ragtime in the 1940's, 1960's and then the huge revival in the 1970's following the movie, The Sting, that ragtime became entrenched as a popularly recognized style. At the same time as the Missouri rags and cakewalks were being composed, another style of Rag emerged, called "Eastern Ragtime".

These rags emerged from composers in New York, Baltimore and New Orleans. These rags, though technically defined as rags (syncopation over a regular bass line), do not have the same feel and sound as the Missouri school rags. The tendency of this style rag was to produce a fast brilliant style and were somewhat simplified in style. These works were more slanted towards popular appeal and in many cases, were far removed from what we now consider to be the ragtime sound. Ragtime songs had their origins in coon songs and as they gradually lost their racial character, any song of a strong rhythmic style began to be referred to as a ragtime song. Here is an example of a "rag" song from 1912 that is questionable as to it's pedigree as a true rag. Listen to it yourself and decide. Is it a rag or not? If you think so (or even not) send me an e-mail telling me why (or why not), I'll e-mail you back a PDF copy of the score for the song so you can play it yourself.

(Your mail service must be able to accept attachments.) Even if it isn't a rag, it has a great musical quote from Listen To The Mocking Bird in the chorus. Click the cover for the Scorch version, click here for the midi . Interestingly, the song that is considered to be the "greatest ragtime hit", Alexander's Ragtime band is neither syncopated nor carries any of the musical attributes of a classic rag.. As blues developed, even they often were indiscriminately labeled as rags and over time, the line between what was a rag and what was not became completely obscured. This continued until sometime after or around WW I when a new musical catchword emerged known as jazz. And that, as they say, is another story. Scott Joplin (1868-1917), an American composer and pianist, was one of the most important developers of ragtime music. Some regard him as as the originator, however musical history clearly shows that the elements of Ragtime were in place well before Joplin entered the scene. Most can agree that Joplin's role in developing the style is preeminent.

Where he was born is in doubt but The New Grove Dictionary of American Music, says either near Marshall, Texas or Shreveport, La.. The son of a former slave and freeborn woman, he grew up in Texarkana on the Texas-Arkansas border. Though deprived of conventional educational opportunities, his mother took an active interest in his education. A German emigrant musician sparked Joplin's interest in music and Joplin soon became a professional musician. In 1893 Joplin played at the World's Columbian Exposition in Chicago, and in 1896 he moved to Sedalia, Missouri, now considered the "Cradle of Classic Ragtime". There Joplin attended the George R. Smith College and taught piano and composition to other ragtime composers. By 1899 he had published two songs, two marches and a waltz. That year he published his first rags, Original Rags and Maple Leaf Rag. Joplin had ambitions to compose for the musical stage and in 1899 he staged an Afro-American tableau titled The Ragtime Dance in Sedalia.

Despite the indifference that greeted this work, in 1901 he formed the Scott Joplin Opera Company in St. Louis through which he introduced a ragtime opera, A Guest of Honor in 1903. In 1907, Joplin moved to New York where he met Joseph Lamb whom he encouraged and helped connect to a publisher. In 1911 he published his ragtime opera Treemonisha, a work intended to create an indigenous black American opera. Staged in a concert version in 1915, it failed with the audience, leaving Joplin's spirit permanently broken. There is some evidence that Joplin had also completed a musical comedy titled, If and a ragtime symphony but the manuscripts were either destroyed or lost. Joplin's other compositions include The Entertainer (1902), Peacherine Rag (1901), and Magnetic Rag (1914). Joplin's style is often called the Missouri Ragtime style. Among the Missouri group of composers are Joseph F. Lamb, Artie Matthews and James Scott.

SYNCOPATION : Syncopation is a rhythmic pattern in music where the beat or emphasis is displaced to a "weak" beat. Usually in music, the first beat of a measure is the strong or emphasized beat. In 4/4 time, normally you would count ONE-two-three-four, ONE-two-three-four. A syncopated pattern would be; one-TWO-three-four, one-TWO-three-four. The result is a rhythmic pattern that sounds "off-beat". TONIC , the keynote of a scale or the primary key of a work. A passage in the tonic uses the primary key of the work. SUBDOMINANT - The fifth tone below the tonic or keynote. Thus, a new key for the passage is established based on the new note. TRIO - Though most often meaning a group of three musicians, in this sense, it means the third part of a multi movement work. The trio is often included in multi section works and acts as an interlude of sorts between repeats of other sections before a return to the main "A" theme of the work or a coda.

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Before using any of these images, text or performances (MIDI or other recordings), please read our usage policy for standard permissions and those requiring special attention. Thanks. We respect your privacy and do not collect or divulge personal information see our privacy policy for more information Scott Joplin (c.1867–1917) Musical notes for school children Scott Joplin (c.1867–1917) Born: Sometime between July 1867 and January 1868, somewhere in Texas, USA. (Many books say he was born on 24th November 1868 in Texarkana, Texas, but there is no real evidence for this.) Scott Joplin’s grave in New York Died: 1st April 1917 in New York, New York, USA. Buried: Saint Michaels Cemetery, East Elmhurst, Queens County, New York, USA. Some famous pieces: Maple Leaf Rag. ( See below for a video.) A great recording: King of Ragtime (c.1898–1913). This is recorded from piano rolls—Scott Joplin did not actually make any recordings.

A piano roll is a roll of paper with holes in it. This paper is fed into a special piano called a player piano. The player piano then reads the roll and plays itself! ( See below for a picture of a player piano.) Some interesting facts: He was the greatest composer of ‘ragtime’. In fact he is often called the ‘King of Ragtime’. (Ragtime is a mixture of Black American folk music and classical music . It is not quite jazz, but is certainly where a lot of the ideas for jazz came from.) He made ragtime very popular. This made people ready to hear and write the jazz that came afterwards. It also set the scene for American popular music over the last century. Put simply, Scott Joplin has had a very big influence on jazz and popular music over the last 100 years. Like classical music , Scott Joplin’s rags are written down exactly. They are pieces to be played as written on the piano. This is quite different from jazz, where it is normal for the musicians to make up some of the music as they play. He became famous with his piece ‘Maple Leaf Rag’. This piece appeared in 1899.

It sold over 75,000 copies in the first six months! The piece was named after the Maple Leaf Club where Scott Joplin used to play the piano. His father had been a slave. He was very lucky to learn music. Most Black American children around the time Scott Joplin was born would not have had this chance. His father certainly didn’t want him to learn music. However his mother was keen. And a kind local music teacher taught him for free. He also composed two operas as well as some other classical music . Scott Joplin tried very hard to make these operas popular, but didn’t succeed. In the end he died very disappointed with the failure of his operas. After Scott Joplin died, ragtime music was almost forgotten about as jazz became popular. His music became popular again in the 1970s—especially when ‘The Entertainer’ was used in the 1973 film ‘The Sting’. His music has been popular ever since! Here is video of a piano roll recording of Scott Joplin playing some of his own music.

A piano roll recording of Scott Joplin playing some of his own music By the way, here is a picture of a player piano. This is the sort of instrument playing in the video above. Note the roll of paper in the middle. This is the music for the piano. A player piano Finally, here is a video where you can see someone playing Scott Joplin’s The Maple Leaf Rag. ‘Maple Leaf Rag’ by Scott Joplin Choose another jazz artist . Picture credits: Scott Joplin. This photograph is dated 17th June 1907. The image is in the public domain. Click here for the source of this image, along with the relevant copyright information. Scott Joplin’s grave in New York. This photograph was uploaded to the Find A Grave website by Curtis Jackson. Curtis has informed me that, as far as he knows, the image is in the public domain. Click here for the source of this image. A player piano. This is a photograph of the roll mechanism of a 1927 Welte-Mignon reproducing piano. It was taken by the user Gerhard51 on Wikipedia. The image is free to use providing one credits the photographer.

Click here for the source of this image, along with the relevant copyright information. Video credits: SCOTT JOPLIN ORIGINAL PIANO ROLLS. SCOTT JOPLIN ORIGINAL PIANO ROLLS. Scott Joplin – Maple Leaf Rag. The person who posted this on YouTube writes: About the speed: I strived to play it at this specific speed and I think it is appropriate and not excessive. Of course, you’re entitled to have your own opinion though. There is more information about this one on the video’s YouTube page . { 31 comments… read them below or add one } 1 adelia 24th March 2012 i like the music very nice facts because im doing a school report 2 juley 30th April 2012 It really did help me with my essay on Ragtime. I had no idea what Ragtime was until i saw this website. THANKYOU! 3 emma 11th June 2012 this really helped me with my homework on scott joplin and ragtime 🙂 thanks so much!

Emma 🙂 Classical Treasures - Maple Leaf Rag by Scott Joplin on Apple Music by JL Stiles The Joplin compositions here are all awesome, brilliant. But the crucial ingredient so oft amiss is the good feel on the piano and comforting tempo. Whoever the piano player was on this CD did a great job. I wonder who it was, as i-tunes gives no such info upon buying the CD, as if the information is such a put-out for them to provide. Good piano by I was here! I am not a huge fan of this type of music but I have to say that I am not regreting the purchase I made! It is some good piano playing. Classical Treasures- Maple Rag by Zigmeister This album wasn't bad, considering the pianist seems to have a noticable affinity for his sustain pedal and believe Joplin's music needs to be more dramatic than it already is.

Biography Born: November 24, 1868 in Marshall, TX Genre: Jazz Years Active: '/0s, '00s, '10s Scott Joplin was "the King of Ragtime Writers," a composer who elevated "banjo piano playing," a lowly entertainment associated with saloons and brothels, into an American art form loved by millions. Born in Texas in either 1867 or 1868, Joplin was raised in Texarkana, the son of a laborer and former slave. As a child, Joplin taught himself piano on an instrument belonging to a white family that granted him access to it, and ultimately studied with a local, German-born teacher who introduced Joplin... Top Albums and Songs by Scott Joplin 1. 1 Scott Joplin What is ragtime associated with 1 Emphasized - MUS - 100 View Full Document  What is ragtime associated with? 1. Emphasized rhythmic syncopation 2. Similar to marches, cakewalks, two steps and popular songs 3. Piano solos best 4. Midwest 5.

African American musical traditions 6. Silent films, theater ochestras, organists, pianists  What is syncopation? 1. Musical accents that occur off the beat; notes run against the regular pulse of the musical meter  What is stride bass? Why is it important? 1. The physical movement of the hand “striding” up and down the keyboard 2. Extremely common in ragtime music 3. Built the foundation for stride piano music  How are blues songs structured? 1. 12-bar blues 2. 3 lines = 1 verse  Characteristics of jazz: 1. Evolved out of many styles of music 2. Syncopation and swing rhythms 3. Improv  When were big band and bebop jazz popular? 1. Just after World War II  What is swing? How do players know to swing the music? 1. Highly danceable style of jazz 2. Featured big bands 3. Longer Shorter durations  Who was Duke Ellington? 1. Wrote Cotton Tail 2.

“greatest American jazz composer” CHAPTERS 49, 50, 52  What is William Grant Still primarily known for? This preview has intentionally blurred sections. Sign up to view the full version. Scott Joplin: The King of Ragtime Music Scott Joplin: The King of Ragtime Music May 28, 2006 I’m Steve Ember. VOICE TWO: And I’m Barbara Klein with People in America in VOA Special English. Today we tell about the life and work of one of America’s greatest music writers: Scott Joplin, the King of Ragtime. (MUSIC) VOICE ONE: That song is called “Maple Leaf Rag.” Scott Joplin wrote it more than one hundred years ago. The song changed Joplin’s life. It was very popular. The composer earned a good living from the sales of the sheet music. He also became famous. But, even today, much about Scott Joplin remains a mystery. There is conflicting information about the most basic facts, like when and where he was born.Official population documents suggest Scott Joplin was born in eighteen sixty-seven and eighteen sixty-eight.

He was born in Texas, probably near the border with Arkansas. The Joplins moved to Texarkana, Texas sometime after eighteen seventy-five and Scott grew up there. (MUSIC) VOICE TWO: Scott was the second of seven children born to Giles and Florence Joplin. His father was a freed slave who worked on the railroad. His mother cleaned people’s homes. The whole Joplin family was musical. Scott’s father played the violin. His mother played the banjo. And all the Joplins enjoyed singing together at home. Scott learned to play several musical instruments. But Florence Joplin wanted her son to learn how to play the piano. When Scott was about seven years old he began taking piano lessons with a music teacher at his school. The Joplins were poor, so Scott’s mother paid for the weekly lessons with food. Florence Joplin also got permission for her son to use a piano in one of the houses she cleaned in Texarkana. Florence and Giles Joplin separated before Scott became a teenager. Some experts think Scott blamed himself for the break-up.

Many experts also think Scott Joplin’s opera “Treemonisha” included incidents of his life with his mother after Giles Joplin left. For example, the character “Treemonisha” receives music lessons paid for by her mother who cleans people’s houses. Listen to this aria from the opera. Carmen Balthrop is Treemonisha. (MUSIC) VOICE ONE: Scott Joplin’s early piano lessons did not include ragtime. That kind of music was played in dance and drinking places and was not considered acceptable.Scott first studied classical music with several teachers. They included a German immigrant named Julius Weiss who probably had the strongest influence on the boy. VOICE TWO: Scott left Texas when he was a teenager. He worked as a piano player and gave lessons in the guitar and mandolin. In his twenties he settled in Sedalia, Missouri. He formed a group called the Texas Medley Quartet. The group sometimes traveled great distances to perform. Scott Joplin began his music-writing career in Sedalia. He attended college classes to learn to become a composer. Joplin also got a permanent job in Sedalia playing the piano in a new nightclub. Sedalia’s most important citizens visited the Maple Leaf Club.

The job permitted Joplin time to write and play his own work. Something even more important happened to Joplin in Sedalia. He met John Stark, the owner of a local music store. In eighty ninety-nine, Stark published the song “Maple Leaf Rag.” It was not Joplin’s first published music. But it was the he was most proud of. Stark offered to pay Joplin a percentage of each sale of “Maple Leaf Rag” sheet music. This was an extremely unusual business agreement for a white publisher and black composer at that time. Usually, white publishers paid only a small amount of money for full ownership of music written by African-Americans. The agreement was very good for both Scott Joplin and John Stark. (MUSIC) VOICE ONE: Ragtime music is dance music. It combines a solid, often lively, beat with a looser, complex melody. Most experts agree that the traditional music and dance of American slaves played a big part in the development of ragtime. Here is a perfect example. Scott Joplin and John Stark published “A Breeze From Alabama” in nineteen-oh-two. It is music for a dance called the two-step.

(MUSIC) VOICE TWO: John Stark decided that Scott Joplin was going to become too popular to stay in the small town of Sedalia. He decided to move his music business to the big city of Saint Louis, Missouri. Joplin moved to Saint Louis with a woman named Belle Hayden. Later they were married. But Joplin was not as successful in love as he was in music. He and Belle separated in nineteen-oh-two. Two years later Joplin married again. But his wife, Freddie Alexander, died just three months later. The Scott Joplin Organization in Sedalia, Missouri says Joplin wrote this rag, “The Chrysanthemum,” for his second wife. (MUSIC) After his wife’s death, in nineteen-oh-five, Joplin wrote a concert waltz called “Bethena.” The piece has a sad sound to it, quite unlike Joplin’s earlier work. You might recognize it as the theme music for the Special English program Words and Their Stories. (MUSIC) VOICE ONE: Joplin lived in many places in the years that followed.

He also worked on his opera, “Treemonisha.” He had hoped his longtime business partner John Stark would publish it, but he refused. Stark did not think a ragtime opera would sell. After nineteen-oh-seven Joplin lived mostly in New York City. He and his new wife Lottie tried for many years to get “Treemonisha” produced. But its opening night did not come until more than fifty years after Joplin’s death. By about nineteen fifteen, Scott Joplin began suffering badly from syphilis. The disease robbed him of his ability to play piano. It also destroyed his ability to write music. He died in New York City in nineteen-seventeen. Scott Joplin left the world sixty musical works. These include many piano rags that are still played today. (MUSIC) This program was written and produced by Caty Weaver. I’m Barbara Klein. VOICE ONE: And I’m Steve Ember. Join us again next week for People in America in VOA Special English. We leave you now with one of Scott Joplin’s prettiest rags, “Heliotrope Bouquet.”

Question: With what type of music is Scott Joplin associated?
Answer: Ragtime