This was likely due to Stark's reticence to print something in six flats, which creates at the very least the perception on the page of being extremely difficult to play, rather than a conscious composition decision on the part of Scott. Those who are more familiar with this piece know that, unlike most rags, the printed score modulates up a fifth (from Db to Ab) for the trio as opposed to the traditional interval of a fourth (Db to Gb). The B section is the most fun for me to improvise on, and has some similarities to the Maple Leaf Rag B section.
And like a frog's legs might do, this piece just "jumps" right into the A section with no introduction. While not Scott's first rag, it was the first of his to be published by John Stark, who would issue almost everything Scott sent him for the pretty much the rest of Stark's life. Darch (with his complete blessing), and it is merely my take on this unusual piece.
#Ragtime musical compser full#
Please note that this is done with full respect of and credit to Mr. This includes a modulation into the trio which is raised up to Bb, and a further alteration of that section into a smoother 16 bar harmonic pattern. Darch's sections in a manner similar to Scott's compositional style based on the accumulated analysis of his pieces from the last 40 years. The second version is played as a piano rag, and expands on Mr. After listening to this, the theory that it was composed for the instrument is quite plausible. I have also reconstructed the 8 measure trio into a full 16 bars. It takes into account the fact that the instrument has a limited range (I'm keeping within 48 notes, so some have been omitted), calliopes do not have a sustain pedal, and the notes are often hard to press because they are directly connected to a valve that lets the steam blow through the pipes. The first is nearly as published in TAPR, and is played on the calliope. As of 2001, He was both pleased about the attention still given the rag, and humble about his important role in its discovery and subsequent exposure.īased on this knowledge, I have constructed two versions of this rag. However, Bob did not take credit for any of the enhancements when TAPR was published. The trio (written in the initial key of F with no modulation), was composed by Darch, who solicited help through some consultation with other ragtimers. While what part of it was added to or altered by either composer, Scott likely composed the A section melody and possibly the B strain, or a large part of it. It is thought to have been composed by Scott prior to 1910 for performance on a steam calliope in Lakeside Amusement Park near Carthage, Missouri. He later filled in the harmonies and composed a trio, copyrighted the piece, and had it included it in the centerfold music area of the third and fourth editions of TAPR. Attempts to XEROX the sources with then-new technology proved fruitless, so Bob jotted down the themes he found for later edification. For a "deposit" of $20.00, Bob was able to borrow the papers. As he walked to his car a cousin (or niece) of Scott caught up to him and showed him some music Scott had left behind. Darch clarified that several years prior to publication, and while following up a tip and visiting relatives of the late James Scott in Carthage, Missouri, he was rebuffed at the door of a home he sent to.
In 1999, when the question of origin surfaced, and again in 2001 as told directly to myself, Mr. First published in 1964 in the third edition of They All Played Ragtime, Calliope Rag was discovered by veteran performer Ragtime Bob Darch in the late 1950s. That said, this particular piece has a rather fuzzy history that has on occasion built up its own head of steam. In spite of a few awkward harmonic resolutions in the 32 bar C section, it shows the promise that would later be realized in the main body of Scott's work. Whether or not it was by coincidence, this piece features an ambitious left hand score with many moving octaves, much as with Joplin's Cascades and Turpin's St.
The few ragtime musicians lucky enough to play at the fair were featured at one of the appropriate venues along the Pike. Amusements of all kinds, from exotic dancers to the "scenic railway", an early version of the roller coaster, were usually featured in this designated entertainment area. This piece is the result, and both the title and cover show what many considered to be the most exciting area of the exposition, the mile-long Pike. Dumar, who was also somewhat eager to cash in on the big event of 1904. Although still an employee of Dumar's Music in Carthage, he had already had two pieces published by Mr. Louis, site of the 1904 Louisiana Purchase Exposition, young James Scott had been following the stories about the upcoming fair, and the opportunities as well. On the opposite end of the state of Missouri from St.
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