Original Rags (JOPLIN SCOTT)

Par JOPLIN SCOTT. Transcription : Claude Voirpy. / Niveau : Elémentaire / classique / Recueil / 4 Saxophones

A complete new edition of the Scott Joplin rags with introduction by Max Morath.

Collection des ?uvres essentielles de Scott Joplin arrangées pour piano facile. / Classique / Partition /

Une belle sélection des plus célèbres chefs d'oeuvres par Scott Joplin pour piano solo, dont `Elite Syncopations`, `The Easy Winners` et les toujours aussi populaires `The Entertainer` et `Maple Leaf Rag`. / Jazz / Partition /

A collection of celebrated song hits and showstoppers for solo piano. Here you will find over 75 legendary jazz and blues standards, showtunes, rags, novelty numbers, and encores. Turn these pages to enjoy great musical moments of the cabaret, stage, and concert hall - or bring to life the jazz and blues clubs of days gone by. Explore the musical genius of Jermone Kern, Irving Berlin and George Gershwin - the dramatic power of George M. Cohan, W.C. Handy, Jelly Roll Morton, and John Philip Sousa - the elegant styles of Scott Joplin, Zez Confrey, James Scott, and Eubie Blake - and much, much more. / Rép International / Recueil / Piano

Mixed Bag No. 5-’Joplin did for the rag what Chopin did for the mazurka’ it almost seems unnecessary to introduce the 'King of Ragtime Writers' Scott Joplin. During his brief career the African-American composer andpianist wrote 44 original ragtime pieces one ragtime ballet and two operas. One of his first pieces the 'Maple Leaf Rag' became ragtime's first and most influential hit and has been recognized as the archetypal rag.Asa composer Joplin refined ragtime elevating it above the low and unrefined form that lived in popular imagination. Joplin's ragtime expressed the intensity and energy of a modern urban America and rejuvenatedAmerican popular music. His work paved the way for the recognition of future African-American musicians and music styles such as novelty piano and jazz.As part of the Mixed Bag series Roger Cawkwell has arranged twoJoplin rags for Woodwind ensemble.

Composée par Joplin Scott la partition Joplin Scott Guitar Tab est éditée par les célèbres éditions françaises ID Music sous la référence SB3012.De ce fait, si vous êtes un grand amateur de Guitare et encore plus de Guitare vous trouverez dans cette pièce tout ce que vous cherchez. Alors plus que quelques clics et cette partition vous appartiendra!!! / Guitare / Partition

Partition pour 2 guitares Collection : Estrada Délia Nombre de pages : 13 13 Niveau : 3 Contenu : Original Rags - Bethena - The Entertainer

Of Scott Joplin James Scott and Joseph Lamb-The great ragtime pieces of the early 20th century were written mostly for Piano but many translate superbly for the Guitar and David Laibman will show you how.Here's a mystery: if the great ragtime pieces of the early 20th century were not written for Guitar and if they weren't player on the Guitar at all (until some of us started doing so half a century ago) then why do they work so will on Guitar?Well thumb vs. three fingers on the right hand (we'll leave out thepinky for now) creates that subtle antagonism between steady bass and syncopated melody - the 'twinkle in the eye' of Ragtime. There is a theory that the original borrowing actually went in the other directed from three-finger Banjo to Piano. Who knows? But I'm finding that the 'educated thumb' is only one neat thing about ragtime Guitar. Classic rags are very expressive with moods and tempers hills and valley. You can capture some of this with left-hand notes (slides hammer-ons pull-offs) with right-hand brushes rolls nail strokes with clever use of open strings and natural harmonics. This works. It is it's own story - not an imitation of a Piano or of a dixieland or jazz band. It is simply - ragtime Guitar.In these lessons I have tried for the most part to meet two goals. First to create versions of some of the most beautiful classical rags that 'lay down' well on Guitar so when you play them you are working with the instrument not fighting it. I have tried to pitch and arrange the pieces so that a lot of the action is in first position rather than high up on the neck and to keep left hand gymnastics to a minimum. Second I didn't want these arrangements to sound like 'student' arrangements too elementary to be believable. It is all about striking a balance. I am generally pleased with the result and I hope