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SCOTTJOPLIN For Guitar

Arranged by CARLOS BARBOSA-LIMA THE CASCADES THE CHRYSANTHEMUM THE EASY WINNERS THE ENTERTAINER EUGENIA GLADIOLUS RAG HELIOTROPE BOUQUET MAPLE LEAF RAG PLEASANT MOMENTS WEEPING WILLOW

SCOTTJOPLIN For Guitar Arranged by CARLOS BARBOSA-LIMA THE C A SC A D E S............................................................................................................ THE CHRYSANTHEMUM............................................................................................ THE EASY WINNERS .................................................................................................. THE ENTERTAINER.................................................................................................... EUGENIA ........................................................................................................................ GLADIOLUS R A G .......................................................................................................... HELIOTROPE BOUQUET .......................................................................................... MAPLE LEAF R A G ........................................................................................................ PLEASANT MOMENTS .............................................................................................. WEEPING W IL L O W ......................................................................................................

32 22 28 3 12 19 6

16 25 9

C opyright © 1986 by B ELW IN M ILLS, c /o C PP/B EL W IN , INC., Miam i, FL 33014 International Copyright Secured

M ade in U .S.A .

A ll Rights Reserved

HISTORICAL AND PERFORMANCE NOTES Scott Joplin was born in Texarkana, Texas 1868 and died in New York City, 1917. He is considered the greatest and most inspired o f all ragtime composers. His backround is somewhat sketchy but what is known about his family gives some insight into his formative musical training. Joplin’s father was a violinist in his spare time away from his railroad labors performing in a plantation dance band. His m other sang and played banjo and all three brothers and two sisters were involved in playing a musical instrument as well as singing. The family guitar was the first instrument on which Joplin made his first excursions into music, but his discovery o f a piano in a neighbor’s hom e captured his undivided attention for the rest of his life. Joplin’s father nurtured his early talent and made arrangements for formal lessons in both theory and piano. His first teacher, a local German musician, was so impressed by Joplin’s abilities that he offered free lessons for the youth’s initial studies. Striking out on his own at the age o f fourteen, Joplin’s career started as a wandering musician going up and down the Mississippi, playing in gambling halls, brothels, cafes, traveling shows and honky tonks. This experience exposed him to many styles such as the Civil War songs, plantation melodies, dance music (i.e., the strut, stomp, cakewalk, etc.), sophisticated songs o f the whites and the lowdown blues and w ork songs o f the blacks. He also heard the other so-called professors o f the piano whose banjo-guitar-based style, somewhat folky and definitely syncopated, is eventually brought into focus by Joplin’s own style o f ragtime compositions. At the height o f his career, Joplin achieved a respectable acknowledgement towards his classic piano rags and even attempted writing an opera, Treemonisha. However, as is usually the case of creative talents, Joplin achieved a greater fame posthumously. The works selected for this volume are an excellent cross-sampling o f Joplin’s rags demonstrat­ ing the various m oods and styles o f this brief-lived genre o f pure American music: 1. THE ENTERTAINER is a ragtime two-step and was dedicated to James Brown and his Mandolin Club. Mandolin orchestras were very popular at this time and guitars were a part o f this kind o f ensemble. This work, happy, yet underlined with melancholy, will respond to a tempo setting o f circa J =66. John Stark and Son o f St. Louis published this work in 1902.

2. HELIOTROPE BOUQUET is considered a masterpiece which resulted from one o f the most memorable collaborations Joplin ever became involved in. Louis Chauvin, a young creole beginning to develop his talents in com posing rags wrote the first two themes in this work and Joplin harm onized and added the third, and fourth strains. Chauvin tragically died at the age o f twenty-four. Because o f the works rom antic qualities, a tem po setting o f around J =56 is sug­ gested. Stark Music Printing and Publishing Co., New York and St. Louis printed this work in 1907. 3. WEEPING WILLOW is somewhat similar to the Entertainer and should be approached with a restrained tem po setting o f c. J =66. The folky-like themes also lend themselves to rubato playing. A. Reis Music Co., St. Louis, printed this work in 1903. 4. EUGENIA was created during a difficult period o f Joplin’s life - he and his wife parted in the early m onths o f 1906. This rag contains clever harmonies and sometimes seems a little academ ic. However, Eugenia is an involved piece and demonstrates a change in Joplin’s style leading towards com plexities in content and structure. The first printed copies featured the label “published for band and orchestra.” This arrangement for guitar definitely creates orchestral colors. This rag should be played in a slow march tempo, J =52. The work was published by Will Rossiter in Chicago. 5. MAPLE LEAF RAG sold more than 75,000 copies within the first six months o f its printing year, 1899. Later, in 1904, it was given lyrics by Sidney Brown and continued to be the best ragtime seller reaching one million copies. Joplin dedicated the piece to the Maple Leaf Club in Sedalia, Missouri, where he originally com posed the w ork and where he was active as a piano player. Because o f its catchy melody, the tem po should be somewhat faster, J =88. John Stark & Son published this work in St. Louis. 6. GLADIOLUS RAG is a w elcom e return to Joplin’s early joyful freedom. One hears a little bit o f his earlier successful rags such as Maple Leaf. His academ ic period behind him, Joplin now possesses a refined com positional technique and his rag creations flow in content, form and harmonies. Again, this rag should be played in a slow march tempo, c. J =56. Joseph W. Stern, New York, published this w ork in 1907 7. THE CHRYSANTHEMUM represents those works given titles o f flowers, trees, vegetables and fruits—a kind o f impressionism in Black music. This work has a subtitle, “an Afro-intermezzo”, which could reflect a creole influence. Another feature o f this work is found in the form. After the third section one expects a repeat to the “A ” section but Joplin, taking an unexpected turn, marks after the third section, END. This is a satisfying conclusion when considering the total form and the happy thematic material. The tem po should be an easy J =60. John Stark & Son o f St. Louis published this rag in 1904. 8. PLEASANT MOMENTS is considered one o f the more successful rags in waltz time. Due to the syncopated figures in this meter the tem po should hover around c. J =88. Seminary Music Co. o f New York printed this ragtime waltz in 1909. 9. THE EASY WINNERS flows along in an easy melodious style depicting the sport of horse-racing. Joplin introduces m ajor/m inor textures giving the work a flavor o f its own. The rag moves along easily at c. J =70. This piece was originally given to Stark to publish but for unknown reasons Joplin published the work in St. Louis in 1904. 10. THE CASCADES was advertized as “The Masterpiece o f Scott Joplin.” For the year, 1904, it is considered one o f the peaks o f classic ragtime. The title, Cascades, coincides with one o f the main features seen at the St. Louis State Fair in 1904, the Cascade Gardens (a water garden with fountains, falls, lakes, etc.). The w ork represents these visual sights through sound as well as creating scintillating effects making this rag swing. This piece can be taken fast, however, the third strain suffers if pushed too much. About J =85 is recommended, with the feeling o f a bouncing march. John Stark & Song, St. Louis, published this work in 1904 To perform ragtime, Joplin says, “Play slowly until you catch the swing, and never play ragtime fast at any time.” (Quote from the School o f Ragtime, 1908, Scott Joplin, New York).

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