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SCOTT JOPLIN
1868-1917
 cCcAX^

SCOTT JOPLIN
Collected Piano Vforks

EDITED BY VERA BRODSKY LAWRENCE

Editorial Consultant Richard Jackson

Introduction by Rudi Blesh

THE NEW YORK PUBLIC LIBRARY

This edition distributed hy BELWINMILLS PUBLISHING CORP.

The clothbound edition of The Collected Works of Scott Joplin

Volume I Works for Piano

Volume II Works for Voice

Published by The New York Public Library in 1971

Second Printing July 1972

Third Printing November 1972

The research and preparation lor publication of this edition was made pos-

sible by a grant from The Rockefeller Foundation.

The edition was designed and prepared under the supervision of Vera
Brodsky Lawrence.

Copyright ©1971 The New York Public Library

Astor,Lenox and Tilden Foundations
Library of Congress Catalog Card Number: 78-164697
ISBN 0-87104-242-8 (Paperbound)
Printed in the United States of America

Grateful acknowledgment is given for the following permissions for material

still in copyright:

To Belwin-Mills Publishing Corporation for Country Club, Euphonic Sounds,

Magnetic Rag, Paragon Rag, Pine Apple Rag, and Sugar Cane.

To Edward B. Marks Music Corporation for Gladiolus Rag, Scott Joplin's

New Rag, and Stop time Rag.
To the Music Trust of Lottie Joplin Thomas for Felicity Rag, Kismet Rag,
Silver Sivan Rag, and Solace—A Mexican Serenade.
Contents

Editor's Note vii

Scott Joplin: Black-American Classicist by Rudi Blesh xiii

ORIGINAL WORKS

—
Great Crush Collision March (1896) 3
Combination March (1896) 9
Harmony Club Waltz (1896) 13
Original Rags [arranged by Charles N. Daniels] (1899) 19
Maple Leaf Rag (1899) 25
Peacherine Rag (1901) 29
Augustan Club Waltz (1901) 35
The Easy Winners —A Ragtime Two Step (1901) 41
Cleopha — March and Two Step (1902) 47
A Breeze from Alabama— A Ragtime Two Step (1902) 53
Elite Syncopations (1902) 59
The Entertainer — A Ragtime Two Step (1902) 65
March Majestic (1902) 71
—
The Strenuous Life A Ragtime Two Step (1902) 77
—
Weeping Willow Ragtime Two Step (1903) 83
Palm Leaf Rag— A Slow Drag (1903) 89
The Favorite — Ragtime Two Step (1904) 93
The Sycamore— A Concert Rag (1904) 97
The Cascades—A Rag (1904) 101
The Chrysanthemum —An Afro-Intermezzo (1904) 107
Bethena—A Concert Waltz (1905) 113
Rosebud— Two-Step (1905) 121
Leola— Two Step 905) ( 1 125
BiNKs' Waltz (1905) 131
Eugenia (1905) igg
Antoinette — March and Two-Step (1906) 145
The Ragtime Dance (1906) 151
Gladiolus Rag (1907) 157
Nonpareil (None to Equal) (1907) 163
—
Sugar Cane A Ragtime Classic Two-Step (1908) 169
Pine Apple Rag (1908) 175
Wall Street Rag (1909) 181
—
Solace A Mexican Serenade (1909) 185
—
Pleasant Moments Ragtime Waltz (1909) igi
Original Works, continued

Country Club — Rag Time Two-Step (1909) 197

Euphonic Sounds —A Syncopated Novelty (1909) 203
Paragon Rag (1909) 209
Stoptime Rag (1910) 215
Scott Joplin's New Rag (1912) 221
Magnetic Rag (1914) , 227
Reflection Rag —Syncopated Musings (1917) 233

COLLABORATIVE WORKS

SwiPESY- —
Cake Walk [with Arthur Marshall] (1900) 239
—
Sunflower Slow Drag A Rag Time Two Step
[with Scott Hayden] (1901) 245
—
Something Doing Cake Walk March [with Scott Hayden] (1903) 251
—
Lily Queen A Ragtime Two-Step [with Arthur Marshall] (1907) 257
—
Heliotrope Bouquet A Slow Drag Two-Step
[with Louis Chauvin] (1907) 263
FelicityRag [with Scott Hayden] (1911) 269
Kismet Rag [with Scott Hayden] (1913) 275

MISCELLANEOUS WORKS

School OF Ragtime —6 Exercises Piano (1908)

for 283
Sensation —A Rag [by Joseph Lamb, arranged by Scott Joplin] (1908)
F. 287
Silver Swan Rag [attributed to Scott Joplin] (1971) 291

APPENDIXES

Rollography of Joplin Works 297

Discography of 78 rpm Records of Joplin Works 299
Selective Discography of 33I/3 rpm Records of Joplin Works 302

Index 303

Illustrations, following page xl: Alternate Covers

 Editor's Note

The works of Scott Joplin published between piano pieces in this collection advertise their avail-

1895 and 1917 include fifty-three pieces for piano, ability in other instrumentations: The Sycamore
ten songs, the opera Treemonisha, and three sub- (I:g7)-|-, "Published for Band, Orchestra, Mando-
sequently published, revised excerpts from Tree- lin, Guitar, etc." and Eugenia (L 139), "Published
monisha. In all, twenty-one publishers (among for Band and Orchestra." A choice of instrumental
them Joplin himself) are known to have brought accompaniments, complete with prices, is an-
out his music during his lifetime. Still others nounced on the cover of the song / Am Thinking
published reprints and instrumental arrangements of My Pickanniny Days [sic] (11:285): "Song .50,
of his compositions. Orchestration .50, Brass Band .75, Guitar Song
Joplin's published piano works comprise forty- .40." No instrumental arrangements are included
four original pieces: rags, marches, waltzes, a in this edition.

tango; seven works written in collaboration with With editions of nineteen publishers repro-
other composers; an arrangement of a rag by duced in these volumes (the omission of the re-

Joseph F. Lamb: Sensation; and the School of maining two will be explained later in this note),
Ragtime — 6 Exercises for Piano. Eight of the ten a colorful variety of music typefaces and printing
songs were original compositions — two being later styles is offered. Together with the evocative cover
vocal versions of the piano rags Maple Leaf and designs, they present a vivid panorama of the Rag-
Pine Apple [sic] —another the original 1902 ver- time Era, contributing a flavor as distinctive, in
sion of The Ragtime Dance for singer, piano and graphic terms, as the music itself.

dancers, of which a shortened arrangement for Among these cover designs, however, will be
piano was published in 1906. One of the remain- found some examples of the offensive stereotyped
ing two songs Sarah Dear is Joplin's version of a caricatures of Negroes that were in common use
tune that had been heard in many guises and on American sheet music covers from early min-
places from early times on (page xxix); the other is strel-show days until well into the nineteen-
an arrangement by Joplin of Snoring Sampson, a thirties. They too were a part of the Ragtime Era,
ragtime song by Harry La Mertha (of which no as were the degrading terms and spurious "darkey"
copy has been found). sentiments that are found in some of Joplin's song
Joplin also is known to have arranged a number texts. Objectionable as we find them today, they
of his own and other composers' rags for dance are included since they are indispensable to the
orchestra (he most certainly arranged for other in- historical accuracy of this edition.
strumental combinations as well). Since published The names of Joplin's publishers are mostly
dance orchestra arrangements (at that time often —
unknown to us indeed many must have been
printed in sets of instrumental parts only, with- obscure even in their own time. A number of them
out full score or piano-conductor part) did not belonged to the special breed of small music pub-
always identify the arrangers, it is difficult to assess
lisher that flourished around the turn of the cen-
just how many of his works were arranged by Jop-
lin. Whoever the arrangers were, it is a fact, never-
fRoman and aral)ic luinK-rals separated by a colon, in paren-
theless, that a great many of his popular rags and theses, refer to volume and page nmnbers in this edition, e.g..
marches were arranged and published in various (1:97) means Volume 1, page 97. Note: References to Volume
II— or II— apply to the hardcover edition of The Collected
instrumental versions, and that they were widely
Works of Scott Joplin, Volume II: Works for Voice, published
performed and danced to. The covers of two by The New York Public Library.
tury in out-of-the-way places. They served a sig- [Allegretto J = 84] has been supplied in square

nificant purpose, providing through their publi- brackets. This metronome indication is derived
cations the unique means (in pre-sound-recording from the 2/4 Allegretto occurring at the bottom
days) for preserving a large part of our vernacular of the same page, an obvious resumption of tempo
music. after the intervening bars of Largo in 4/4.
Each of his publishers, whether obscure or All fingerings, pedals, and dynamics are pre-
known, contributed his share to the eloquent por- sumably Joplin's. Two dynamic in-
characteristic

trait of Joplin that is found in the collected pages dications are found throughout the piano pieces,

of his published music. To study these pages as a f-p and p-f: f-p means that the section is to be
totality provides the documentary means not only played forte the first time and piano the second;
for following the creative development of a dis- p-f of course indicates the reverse.
tinctive artist, but also for evaluating the extent Where the musical intention is clear, typograph-
of his contribution to American music. ical eccentricities peculiar to certain music setting

However, study of the publications also dis- techniques have been retained for their visual
closed that their musical, historical, and graphic charm and flavor. For examples, see Cleopha (1:47)
riches in most cases were Hawed by editorial care- and The Favorite (1:93), with their odd treatments
lessness. Great numbers of errata of various kinds of double barlines and repeat signs (obviously
were found throughout. Since this edition is pri- proper symbols were not available to the typog-
marily intended for study and performance, it was raphers). Other quaint music symbols are found in

judged more imjx»rtant that correct (as far as pos- these pieces, in The Sycamore (1:97), and in other

sible) music texts be presented rather than to per- publications in this collection.
petuate original errors for antiquarian interest. The copy of Cleopha presents a puzzling incon-

For this reason corrections have been incorporated sistency as well: the plate identifications at the
into the facsimile pages. No changes in musical bottoms of the second, third, and fourth pages
content have been made. The corrections deal (1:49-50-51) give, surprisingly, the title The Con-
principally with the following categories of errata: ductor. Whether this was an editor's or printer's
incorrect or missing notes, accidentals, harmonies, error, or if it represents a last-minute decision to
rhythmic notation, rests, clefs, time signatures, key change the title from The Conductor to Cleopha
signatures, key changes, repeat signs, double bars, will probably remain an unsolved mystery. Also
stems, ties, slurs, augmentation dots, brackets, etc.: mysterious, but perhaps less so, is the blurb ap-

also misprints and misspellings in vocal texts. pearing on the first page of music of The Ragtime
Where the composer's intention was clear —and Dance (1902 version) (11:291) which lists, among

technical or space limitations inhibited corrections other Joplin titles, A Gentle Breeze. Since there
— the following varieties of errata were left un- isno known Joplin composition of that name, it
changed: redundant accidentals; incorrect direc- seems most probable that A Gentle Breeze evolved
tions of stems, beams, slurs, ties, etc.; incorrect into the more commercial-sounding A Breeze from
positions (usually on the wrong side of the right Alabama (1:53), ^l^o published in 1902.
note) of accents, staccatos, marcatos, fermatas, etc. Among uncorrected non-musical errata, a num-
Joplin's Treemonisha revisions (shown in his of misspellings, occurring chiefly on covers, will
own hand in the two-page illustration following be found. The word "pickaninny" is misspelled
the Preface in Volume II) have been incorporated in the cover title of the song, viz, I Am Thinking
into the score (11:170-171) as well as the types of of My Pickanniny Days (11:285); the caption title

corrections listed above. One addition has been gives the correct spelling. A recurrent misspelling
made: the missing but tempo indication at
logical is "Swipsey" for "Swipesy, " appearing in blurbs
the beginning of The Corn Huskers (11:36), listing Joplin "hits" on three covers: Peacherine
(alternate cover, seen in the section of alternate and "twostep" are treated in each case as originally
covers following the Introduction in Volume I), printed, in both the Contents and Index. All titles
Lily Queen (1:257) and A Breeze from Alabama in the Contents refer to cover titles and subtitles;

(1:53), which also informs that the work is "Dede- both cover and caption information are supplied
cated [sic] to P. G. Lowery, World's Challenging in the Index.
Colored Cornetist and Band Master." "Swipsey" Some discrepancies exist between the dates of
is also seen in the copy of "Swipesy — Cake Walk printed copyright notices and the actual dates of
itself (1:239), in the plate identification at the bot- Am Thinking of
copyright registration. Thus, /
tom of the second page of music. Augustan Club My Pickanniny Days (11:285), Maple Leaf Rag —
appears as "Augustain Club" in a blurb on the Song (11:309), and Eugenia (1:139), respectively
cover of Sunflower Slow Drag (1:245) which bearing printed copyright notices dated 1901,
slightly metamorphoses, in its own caption title, 1903, and 1905, were registered in 1902, 1904, and
to Sun Flower Slow Drag. Following the caption 1906, respectively.
title The Cr^ish Collision March, the cover title of Works showing printed copyright notices, but
—
which is Great Crush Collision March (1:3), Jop- for which no actual copyrights were registered are:
lin is credited as the "Author of the Combintion March Majestic (I:7i) and The Strenuous Life
March" [sic]. (1:77), both dated 1902; Rosebud Two-Step —
Inconsistencies between cover and caption titles (1: 121), dated 1905, Nonpareil (None to Equal)
and subtitles abound. Some examples: the cover (1:163), dated 1907, and Pine Apple Rag —Song
title A Breeze from Alabama —A Ragtime Two (11:325), dated 1910. Leola — Two Step (1:125),
Step (1:53) is followed by the caption title A dated 1905, oddly enough, bears an English copy-
Breeze from Alabama —March and Two Step; the right, the printed copyright notice reading, "En-
cover information Rosebud — Two Step 121) (1: is tered at Stationer's Hall, London."
followed by the caption information The Rose- The 1911 copyright notice appearing on the re-
Bud March; Nonpareil (None Equal) (1:163) to vised excerpt from Treemonisha, Prelude to Act }
on the cover becomes The Nonpareil A Rag & — (11:255) ^^s obviously an error or an oversight. Ac-
Two Step in the caption; Something Doing— Cake cording to the Copyright Office report it was regis-
Walk March (1:251) becomes Something Doing— tered ". . . following publication Dec. 15, 1913."
A Ragtime Two Step. The report adds, "Copyright is claimed on altera-
Apart from the editorial casualness it reflects, tions and additions of a few notes." For editorial
this substitution of terms would also indicate that consistency the Contents lists the work in its cor-
the designations: Cakewalk, march, two-step, rag, rect chronological sequence, following the Tree-
and slow drag were interchangeable, inasmuch as monisha excerpt A Real Slow Drag (11:237), copy-
they alluded to a genre of music in duple meter to righted July 15 1913. The date in parentheses
which a variety of dance steps might be performed. (1911) refers to the printed copyright notice, as do
Some of these inconsistencies might have been all dates listed in the Contents. Detailed original
dictated by the esthetic considerations or space copyright information is given in the Index.
requirements of cover designers, e.g., the cover Where more than one cover design for a given
title The Chrysanthemum —An Afro-Intermezzo work was found, it was not always clear which had
(1:107) changes its subtitle in the caption to the been the first edition. Copies seen at The Library
lengthier An Afro-American Intermezzo (which of Congress that had been stamped for copyright
in 1904 may have been one of the earliest appli- registration unquestionably were first editions,
cations of the term to a published musical work). but sheet music obtained from private sources
The inconsistently used terms, "ragtime," "rag sometimes presented puzzling decisions. The prob-
time," and "rag-time"; also "two-step," "two step," lem was made more complex by the publishers'
practice o£ frequently changing cover designs been omitted. Included, however, are several small
when issuing reprintings (without dates) while ads, appearing in the bottom margins of three
the music pages — usually reprinted from the origi- Seminary Music Company publications: Country
nal plates —remained unchanged. In doubtful in- Club (1:197), Luphonic Sounds (1:203), and Pine
stances where no clues could be found in the Apple Rag —Song (11:325). Because of space limi-
printed copies, scholars and collectors were con- tations it was necessary to delete from the outer
sulted. To the best of our knowledge, the covers margins of Palm Leaf Rag (1:89) the pictorial an-
chosen for these volumes are first editions. Any nouncement of the then approaching Lewis and
substantiated information to the contrary would Clark Centennial, to be- celebrated in Portland,
be welcomed by the editor. Oregon in 1905.

The acknowledgment "The American To-

to Although not an original Joplin composition.
bacco Co., Manufacturers of Old Virginia Che- —
Sensation A Rag (1:287) by Joseph F. Lamb, ar-
roots," for permission to use their copyrighted de- ranged by Joplin, has been included among the
sign as cover art for the first edition of Maple Leaf miscellaneous piano works. The interesting de-
Rag (1:25) furnishes an interesting insight into tails of how the work came to be published and
John Stark's financially cautious first steps as a Joplin's connection with it, as well as information

music publisher. Whether a permission fee was concerning his other composing collaborations,
paid is not known. The elegantly engraved edition will be found in the following Introduction by
with its distinctive cover is a highly prized col- Mr Blesh.
lector's item today. Also included among the miscellaneous piano
Two Maple Leaf Rag appear
later covers for works is Silver Swan Rag (1:291) in what may be
after the Introduction in Volume I: an early St. its first published version. The work, recorded on
Louis edition (probably the second edition) with a player-piano roll, was discovered in 1970 by
a maple leaf, Joplin's picture, and a dedication to Albert Huerta, a Los Angles piano roll collector,

the Maple Leaf Club; and one of a later edition, among a pile of long-since-purchased and forgot-
omitting the picture and dedication, and bearing ten piano rolls stored in his garage. Realizing that
the imprint (with a stork) adopted by Stark when it was credited to Joplin, Mr Huerta brought
he moved to New York in 1905. The alternate Silver Swan Rag to the attention of Richard Zim-
cover for Swipesy — Cake Walk is one of two alter- merman and other members of the local ragtime
nates that were seen; they do not vary greatly. The society The Maple Leaf Club, who decided to

one included here is the later edition of the two, circulate a tape recording of the roll among Joplin
showing Stark's New York imprint, testimony that scholars for their judgment on its authenticity. It

the work enjoyed a long popularity: it was first was generally agreed that it was indeed a Joplin
published in 1900. Also included in this section composition, although no manuscript nor pub-
are alternate covers for Peacherine Rag and The lished copy has ever been known to exist; nor has
Cascades. any reference to thework been found except in
A great number of the covers were originally 1915-16 catalogs of the QRS Music Company. Mr
printed in color, the colors often having been Huerta's roll had been issued by the National
changed in different printings. In this edition all Music Roll Company of St Johnsville, New York.
covers are printed in black and white. It is noted Oddly enough, since his discovery a copy of the

that the cover for Stop time Rag (1:215) has been QRS roll is reported to have been found. Both
trimmed across the top. All examples of this cover rolls are believed to have been released at about
that were seen had been similarly cropped. the same time (1914-15). Whether they are dupli-
All full-page advertisements, musical and verbal, cate versions is not known.
that had appeared in the original sheet music have The work as published in this edition was tran-
scribed from the National roll by Donna McCluer Acts, Revised Excerpts from Treemonishaf, Songs.
and Richard Zimmerman, and subsequently re- The works comprising each section are arranged
vised and edited by William Bolcom and the edi- in chronological sequence, according to dates of
tor. Both notation and dynamics are a distillation copyright. In the Contents the titles refer to cover
into idiomatic Joplinesque terms of the music titles and subtitles; the dates in parentheses refer

which, as heard on the roll, is encijmbered with to printed copyright notices. Each volume is in-

exaggerations often heard on player-piano rolls of dividually paginated. The page numbers in the

the period. special Table of Contents for Treemonisha (11:8),

Since no written or printed copy has so far been reprinted from the original edition, have been al-

found, nor any copyright information or other tered to agree with the pagination of Volume II.

documentation brought to light, no claim is made The Index, appearing in each volume, lists all

here that the work is authentic. Silver Swan Rag works in both volumes, giving both cover and
has been included because of its undoubted in- caption titles and subtitles, complete original
terest as a composition attributed to Joplin. copyright information, original publishers, and
Certain omissions are regretfully noted. An other pertinent information. Works that have
exhaustive search for the long missing score of the been omitted from this edition are listed, with
unpublished (although copyrighted) ragtime opera asterisks, in the Index for the purpose of supplying
A Guest of Honor was unsuccessful. In spite of complete bibliographical information.
persistent, varied, and recurrent rumors concern-
ing its whereabouts, no factual information has
been uncovered to suggest that the score is any A CKNO WLEDGMENTS
longer in existence. As previously stated, no copy
Sincere gratitude is expressed to the many peo-
has been found of Joplin's arrangement of Harry
ple whose extraordinary cooperation so greatly
La Mertha's song Snoring Sampson, nor have Jop-
the dance steps to The Ragtime
lin's directions for
contributed to the realization of this project. A
—
Dance Song (II: 291), announced in the sheet
great part of the rare music reproduced in these
volumes was lent by private collectors who in turn
music, been located. And, finally, although origi-
enlisted the participation of other private col-
nal editions of all Joplin's piano pieces had been
lectors. Not only did they generously provide their
compiled and prepared for this collection, com-
sheet music, but also information, advice, help,
plete publication was prevented by the refusal of
Mr and encouragement in solving the many compli-
Jerry Vogel, the present copyright holder of
cations met during the preparation of this edition.
three works, to grant a permission to include them.
For the above reasons and many more besides,
As a consequence. Fig Leaf Rag, Rose Leaf Rag,
grateful acknowledgment is given to the follow-
and Searchlight Rag do not appear in this edition.
ing members and honorary members of the rag-
It is hoped that these fine works will eventually
time community: Elliot L. Adams, T. J. Ander-
find their rightful places in future editions of
son, Eubie and Marion Blake, David E. Bourne,
Joplin's music.
Robert A. Bradford, Arnold Caplin, Peter Clute,
The above omissions explain the absence in
Roger Hankins, David A. Jasen, Robert E. Kim-
these volumes of two of Joplin's original pub-
ball,John Maddox, Michael Montgomery, Max
lishers. A list of all the publishers and their loca-
Morath, John V. Phelan Jr, Teresa Sterne, Tre-
tions will be found following the Index.
Each volume is organized in three sections: Vol-
bor Jay Tichenor, and Guy Waterman. And to

ume I, Works for Piano: Original Works, Collabo-

t The second excerpt Prelude to Act j, although not a
rative Works, Miscellaneous Works; Volume II,
work for voice, is included in Volume II with the other
Works for Voice: Treemonisha — Opera in Three Treemonisha excerpts.
the non-ragtimers: William Lichtenwanger and otherwise unobtainable sheet music, but also for
the Music Division of The Library of Congress, his learned information concerning ragtime in-

Kurtz Myers and the Grosvenor Reference Divi- strumentations of the period; to Richard Zimmer-
sion of the Buffalo and Erie County Public Li- man and the Maple Leaf Club for their interest
brary, and Mrs Bernard A. Smith and the Crouch and help in locating materials, and their coopera-
Library of Baylor University Library. tion, with Donna McCluer and Albert Huerta, in

Special thanks are offered to Rudi Blesh for put- making Silver Swan Rag available.
ting at our disposal rare materials from his col- For cooperation and technical assistance of vari-
lection, among them Joplin's own score of Tree- ous kinds, additional special thanks are due to
monisha with its revisions in his own hand; to Richard B. Allen of the Archive of New Orleans
William Bolcom for his invaluable assistance in Jazz of the Howard-Tilton Memorial Library of
lending an "extra pair of eyes" to the music proof- Tulane University Library, Arthur La Brew, John
reading and his help with the revisions of Silver L Davis, Alvin Deutsch, William J. Greene, An-
Swan Rag; to the National Sheet Music Society thony Landini, Fred Little, Henry K. Rosborne,
for publishing in their Newsletter a list of mate- and Chester Smith.
rials being sought; to Addison W. Reed for shar-

ing his newly-found information about the Joplin

family; to William Russell, not only for furnishing VBL
 —

Scott Joplin: Black -American Classicist

BY RUDI BLESH
Scott Joplin, master composer of classic ragtime, in Europe than at home where its very name was
was also, for far too long, a classic example of for- an epithet, a scornful, belittling term with strong
gotten genius. He was the central figure and prime racial overtones. Conscious of this, Joplin himself
creative spirit of ragtime, a composer from whom called the appellation "scurrilous." America both
a large segment of twentieth-century American accepted and rejected ragtime. Initially, emerg-
music derived its shape and spirit. Beyond America ing from the red-light districts it became a popular
the European music world felt the captivating hit of unprecedented proportions. Quickly, then,
force of ragtime's rhythm and the lilt and charm of it began to meet with fanatic opposition from an
its melody. Brahms had envisioned a ragtime pro- informal entente of the moralistic prudes, the
ject just before his death ;^ Debussy experimented Europe-oriented culture snobs, and an Academy
in the medium with two piano pieces, Golliwogg's that felt suddenly challenged. The challenge came
Cakewalk and General Lavine; Stravinsky fol- from an unexpected source, the people and the
lowed not too long after with his Piano Rag Music. open-minded members of the musical establish-
Through it all, Scott Joplin and his seminal crea- ment (and there were some) who espoused the new
tions remained in the background. music. The real trouble with ragtime was not that
A black, one-time itinerant pianist, Joplin led it was no good but that it was too good, and it had,
the vanguard of American popular music in the so to speak, been born out of wedlock, with at least
early part of the twentieth century, effecting a a part of its parentage black.
basicand altogether remarkable fusion of Afro- A bitter controversy ensued. It filled the air

American rhythm, American folk song both black all but drowning out the music from 1897 to —
and white, and the musical principles and proce- 1917. Meanwhile a handful of creative spirits,
dures that America has traditionally derived from, some black, some white—James Scott, Joseph F.
and shared with, Europe. A quiet and serious man, Lamb and a few others, led by Scott Joplin went —
Scott Joplin was a forceful and potent musical on composing serious ragtime; getting it published
innovator. where and when they could, but composing it
At the turn of the century ragtime was all the nonetheless. Finally the decisive factor, commer-
rage.America cakewalked to it. So did the French, cialization, entered. Tin-Pan Alley, reaching for
though they called it le temps du chiffon. In the quick buck, flooded the market with an inun-
Vienna the Prater carousel riders whirled to it and dation of ragtime: mostly spurious, second- and
the coffee house zithers played it; the London bar- third-rate, occasionally worthy. The public was
rel organs bleated it out; Scotch lassies did their beginning to tire of it all when a new "illegiti-

Highland fling while the pipers skirled out the mate," ragtime's Storyville child "jass," seized the
Maple Leaf Rag. John Philip Sousa and his con- stage just before we entered World War I. On the
certband carried it to the 1900 Paris Exposition, very day we entered the war, Scott Joplin died.
then were summoned to give command perform- Now in 1971, half a century after that event
ances for Edward VII, Wilhelm II, and Nicholas II. and three-quarters of a century after Scott Joplin
As for serious acceptance, ragtime fared better composed his keystone piano work, the Maple
Leaf Rag, we are at last ready to accept this long-
1 Robert Haven Schauffler The Unknown Brahms rejected American music and to accord it the posi-
(New York: Dodd, Mead and Co 1933) 176. tion it merits. Now an American musicologist can
write of Joplin's rags that they "are the precise bor's house, and was found surreptitiously experi-
American equivalent, in terms of a native style menting with it. Given an opportunity to express

of dance music, of minuets by Mozart, mazurkas himself, he displayed his natural musical gifts

by Chopin or waltzes by Brahms."^ In accordance almost immediately. Soon the neighborhood was
with this new recognition, Joplin's music is being listening and talking. Giles Joplin, though deter-
enthusiastically embraced by a new generation of mined that his son learn a trade, scraped money
performers and listeners. And, notably, his col- together and bought a second-hand square piano.
lected oeuvre is receiving publication by one of The boy was at this instrument day and night
our great cultural institutions. and before he was eleven years old he was impro-
With this edition, an all-but-forgotten black- vising so remarkably that he became the talk of
American genius is being honored. This is one the Negro community. Rumors spread to the
point of view. From a broader point of view, a white community through servants' talk — Mrs
country once honored by Scott Joplin's life and Joplin was a laundress.
music, is being honored again. In those days almost every Midwestern town
had its German music teacher, a paragon im-
mersed in the three B's, who generally taught
BEGINNINGS piano and frequently other instruments as well.
There was such a man in Texarkana; he heard
Scott Joplin was born on Tuesday, November 24, young Joplin play and as a result gave him free
1868 in Texarkana, Texas, the small twin-city lessons in piano, sight reading, and the principles
divided between two states. His parents were Giles to extend and confirm his natural instinct for har-
Joplin, a laborer, of North Carolina origin, and mony. The professor is said to have played the
Florence Givens Joplin from Kentucky. The classics for him and to have talked of the great
mother had been free from birth; the father was composers and, especially, of the famous operas.
an ex-slave, slavery having been legally terminated Many years later, Scott Joplin's widow (who had
only five years before Scott Joplin's birth. The been his second wife) was able to confirm the story
Joplins led an intensely musical home life: Giles of these events. And, though she could not recall

Joplin played the violin (he had performed as a the name of the German teacher, she related that
dance musician during his slavery days) and his Joplin never forgot his first benefactor. In his
wife sang and played the banjo. Scott had an older later years (1907 to 1917), Mrs Joplin said, he
brother Monroe, and two younger ones: Will, who sent his teacher, by then ill and poor, gifts of

sang and played the guitar, and Robert, who sang money from time to time. According to Fred
and also composed. Little is known about the mu- Joplin (Monroe's son), Scott Joplin returned
sical accomplishments of his two sisters Myrtle briefly to Texarkana in 1907; and one may as-

and Ossie (or of Monroe) but it may be assumed sume that he visited his first teacher then. Mrs
that they too contributed to the family musical Joplin also said that when his mother died, just
scene.^ as he was entering adolescence, there was friction
While very young, Scott played the guitar and, with his father over learning a trade, which re-
somewhere along the line, blew the bugle. When sulted in his leaving home (he would be followed
barely seven he discovered a piano in a neigh-
a little later by Will and Robert). His own de-
parture was about 1882 when he was about four-
2 H. Wiley Hitchcock Stereo Review (April 1971) 84.
teen.*
3 In July 1971, Joplin scholar Mr Addison W. Reed
located and interviewed two Joplin nieces in Texarkana,
and a nephew in Marshall. The resulting data was kindly 4 Mrs Lottie Stokes Joplin, in interviews with Rudi
made available for this Preface. Blesh and Harriet Janis, 1949-50.

XIV
THE SPORTING WORLD & THE For a young man marked out to become the
NEW MUSIC greatest composer of this new music, this folk-con-
servatory was far more valuable than a real con-
The move plunged him into the remarkable sub- servatory could have been at that moment. It was
world of the American honky-tonk and red-light a world where for the very first time in America
districts where pianists, black and- white, were in black and white musicians were meeting as equals,
great demand — this, of course, being in the very competing, trading, and borrowing from the mu-
infancy of mechanical and recorded music, and sical traditions of their two different races. The
long before the era of radio and television. A music coming out of this meeting was first called
large, loosely-knit clan of itinerant musicians "jig piano." (Though "jig" later became a deroga-
roamed from town to town, assured of employ- tory term for a black, it was, here, originally, an
ment anywhere. Wages were nominal: tips ranged attempt to describe the dancing ragtime rhythm
from good to famous to princely, depending upon by comparing it with the Irish jig.) This was the
whether the bordello guests were mere visiting syncopated piano music that Joplin, along with
cowboys or sports of Diamond Jim Brady status. the others, was playing, as it gradually crystal-
At fourteen, Scott Joplin was by no means the lized into a distinct musical form.
youngest piano "professor" — some were known to It was an historic, if inevitably clandestine,
be as young as twelve. The black lad from Texar- meeting of two cultures. If, in the ragtime form,
kana shuttled from Texas to Louisiana and all the elements of scale, key, and harmony (and the
over the Mississippi Valley states — Missouri, Ar- instrument itself) came from the white side, the
kansas, —
and Kansas the region that was the cradle crucial, catalytic polyrhythms came from the
of ragtime. He was now in a different school: adult black.
education for a child. He met hundreds of mainly Although ragtime was melodious, it was the
self-taught musicians and singers, and heard pop- exciting rhythm of its melodies that was so novel
ular music, light classical music, and folk music, and so instantly appealing. To understand what
old and new, black and white, respectable and not- took place in ragtime it is necessary to go back
so-respectable. It would be a prime source of to earlier black-American music and its retentions
melodic inspiration for the rest of his life. from African music. Polyrhythm, with or without
This was a lurid but vital orbit. It was a partly drums, is the sine qua non of African native music.
sub rosa circuit of saloons and bawdy houses, pool In Black America, from the first work-songs of
halls and all-night cafes, medicine shows and slavery on, duple and triple polyrhythms persisted
vaudeville (then called "variety"), and the notori- as a basic practice. Without drums (which were
ous Forty-Niner Camps: nomadic tent shows de- eventually forbidden) they issued from the ap-
picting the dance halls of the California Gold positions of hand-clapping, foot-stamping, or the
Rush complete with cancan girls authentically sounds of tools, and the sung melodic line. The
sans culottes and the larcenous roulette wheel. first factor, regularly accented, formed a basic
It was a hurrying, exciting world of music, wine, ostinato. The chant or melody (like the improvis-
and contraband love, a terrain not cosmopolitan ing drum in an African battery) was free to wan-
but still frontier. Its real music was not Strauss der from the strong beats to the weak, to delay
nor Waldteufel nor, even, our own Gottschalk. or to anticipate, to drop unpredictably between
Nor was it the lugubrious teary ballads of the New beats, and even to pose an odd meter to the even
York Rialto. It was a heady new music called rag- (e.g., 3/4 phrasing over 4/4). It was a drama of
time, a dance-song alembicated from the native tensions: a rhythmic base of metric affirmation,
air,an intoxicant bubbling with the spirit of a and a melody of metric denial.
wholly American time and place. Ragtime's polyrhythms came from the right
hand's phrasings in syncope, or between the beat, them — insisted on the publication of their work.

or in variant meter above a regularly accented 2/4 To them we owe the ragtime form, a delightful
or 4/4 bass. Ragtime pioneer Ben Harney called it concision with enough themes (albeit without de-
"playing two different times at once."^ It had come velopment) for a larger form. The classic piano rag
about with the first free generation of self-taught is an ivory miniature among the large canvases.
black pianists' playing quadrilles and, particu- When the rag began to take shape in the early to
larly, improvising piano transcriptions of the ex- mid- 1890s, Scott Joplin became its special master.
tremely popular brass band marches. Early rag- Just as it was all beginning, he arrived in St
time publications, in fact, usually carry the desig- Louis. It was 1885. Though only seventeen, Jop-
nation: Tempo di marcia. lin was already an experienced musician. St Louis,

In 1971, the octogenarian ragtime composer which had been a trading post for the French-

Eubie Blake (born in 1883) recalled the early Canadian voyageurs in their dugout canoes, was
eastern ragtime "march kings," particularly one still in spirit a frontier town. It sprawled and
William Turk (born about the same time as Scott brawled along the levees in this penultimate time
Joplin), who had "a left hand like God," and a of the great riverboat era. The Mississippi, still a

certain"One-Leg" Willie Joseph, a conservatory- great trade and travel artery, was thick with traffic.

trained black ragtimer who would "bring the Its air echoed with the sound of chanteys mingling
house down with The Stars and Stripes Forever in with the levee-camp blues, and the blasts and
march time, ragtime, and 'sixteen' " (TAPR 193), drone of steamboat whistles blending with the
the latter meaning a fast boogie-woogie bass. singing of roustabouts "coonjining" to the plunk-
Ragtime's structural form likewise points to be- ing banjos.
ginnings in syncopated march playing. The typical In St Louis money grew not on trees but on the
Sousa march contains four to five themes, gener- river. The easy silver dollars spawned one of the

ally, in two or more keys. Each theme as a rule most wide-open "Districts" in the country. Center-

is sixteen measures long and is usually repeated. ing around two ill-famed streets, Chestnut and
The piano rag takes a similar form, most often Market, were the saloons and cafes, the pool halls
with four themes. As ragtime developed it added and the bawdy "parlors," all ringing with synco-

an interesting device, that of habitually reprising pated piano. "Jig piano" was everywhere. During
the first theme immediately after the second the next eight years or so it would come of age,

theme. Whether this was a kind of conscious or a development that would center mainly here and
unconscious reference to rondo form is not known. in another Missouri city, Sedalia.

Considering the degree to which piano playing Joplin now made St Louis the only remotely
in the red-light areas was either song or dance ac- stable center of a nomadic life. His base of
still

companiment or, at the other extreme, merely operations became "Honest John" Turpin's Silver

background music, it is rather remarkable that the Dollar saloon, which was a ragtime clubhouse, bat-

separate ragtime piece ever developed at all. It

tleground of musical duels, and informal booking

is a measure of the talent and aims of a small

office for the youthful piano cult. A madam would
number of the honky-tonk coterie that they should
send a girl over: "We have company now and need
have wanted to progress from the tempting ease-
a professor." They would match coins and some-
one had a job.
fulness of the whole situation. They insisted on
Joplin was never very far away, playing at Han-
an audience; composed for it; and then —a few of nibal or Columbia, at Carthage, Jefferson City, or
Sedalia; just across the river in East St Louis, or
5 Rudi Blesh and Harriet Janis They All Played Rag-
time (New York: Oak Publications 1971) hereafter, — perhaps as far as Cincinnati or Louisville.
abbreviated in the text: TAPR. In 1893 the World's Columbian Exposition,

XVI
popularly known as the Chicago World's Fair, was Warfield, Sam Patterson, Artie Matthews, Joe Jor-
opened after having been postponed for a year. dan, Charlie Thompson, and Rob Hampton.
The ragtime fraternity convened there, along the Mostly teenagers (Joplin was now twenty-six), they

Fair's amusement "Midway "

and in the Chicago met at all hours at the Rosebud, and a little later

Tenderloin, which ran from Eighteenth Street to at Turpin's Hurrah Sporting Club in an alley at

the Illinois Central railroad tracks. It was a bo- the rear. In the Rosebud it was the wine room in
nanza for ragtimers. the back, "accessible from the bar or through the
Joplin formed a small orchestra in which he side family entrance' . . . where the sports and the
doubled on piano and cornet, and got a steady job girls gathered. . . . This room was the rendezvous
in the District. Off hours he, like the others, re- for every St Louis or visiting pianist. The hottest

paired to the favorite hangout, pianist Johnny sessions, however, witnessed only by the musicians
Seymour's Bar, where a national rather than a re- themselves, generally took place in the parlor of
gional meeting and comparing of individual styles Mother Johnson's house across the street" (TAPR
took place, both informally and in public ragtime 54). For three or four hours there would be a
contests. A fluid, fugitive music was being crystal- "cutting contest, " purely pianistic, between a St
lized. The many catchy little sixteen-bar themes, Louis representative and, say, a visitor from New
invented almost at random by a footloose, talented York.
young generation, began to be assembled in the
A-B-A-C-D form, beholden to rondo, quadrille,
and military march. FIRST PUBLICATIONS
At the Fair's end in the autumn, Joplin re-

turned to St Louis, stopped there briefly, and then It was an exciting scene but by late 1895 Joplin
went on to Sedalia, where he settled down for the was back in Sedalia. Though not completely
better part of a year, becoming a part of respect- weaned from nomadism, his concept of the nature
able black society. He joined the Queen City Con- and purpose of the wandering life had seemingly
cert Band as second cornetist, sang with vocal changed. Despite appearances he may have had a
quartets, and played the piano at social gatherings. general sense of direction even when taking leave
He was now beginning to compose —songs, piano from Texarkana. He formed the Texas Medley
waltzes and marches — but not yet (so far as is Quartette (actually an octet of male singers)

known) in ragtime form. which included his younger brothers Will and
Although it was a pleasant scene and one, be- Robert, who had moved to Sedalia, and embarked
yond doubt, more congenial to Scott Joplin's on a professional tour. Scott Joplin conducted;
essentially sober nature than the red-light milieu, —
sang solos; and most important of all began —
he nevertheless soon wandered back to St Louis. writing songs for their repertory as well as his own
The Rosebud Cafe on Market Street was now the piano solos. After tryouts in Sedalia the Medley
ragtime haven. It was run by "Honest John's" Quartette got vaudeville bookings that took them
son, Thomas Million Turpin, a heavy, hulking that year (1895) as far as Syracuse, New York.
man, blunt in manner, but noted for his warm, There Joplin sold his first pieces for publication
generous hospitality. A player and composer him- to two local music stores: Leiter Bros published

self, he had huge, agile hands and a humorous, A Picture of Her Face, and M. L. Mantell issued
rather athletic, ragtime style. Within three years Please Say You Will.
from this time — in 1897 —^^ would
become the There are no intimations of genius in Scott
first Negro to publish a rag. He was host, pace-set- Joplin's first publications. A Picture of Her Face
ter, and confidant of a gifted group of young black is a Victorian mourning picture in sound, de-

players that included Louis Chauvin, Charles signed for male quartet rendition and wholly un-
distinguished. The other song, though more cheer- time publication faced a difficult hurdle: commer-
ful, is equally run-of-the-mill. cial arrangers didn't know how to notate it and
In i8g6 the Quartette toured Louisiana and publishers shunned it as strange and hard to play.

Texas. In Temple, Texas, Joplin secured his first After the ice was broken with the first ragtime
piano publications: Combination March and publications in 1897, the better ragtime composers
Harmony Club Waltz, both with the local imprint still suffered from the publishers' arbitrary prac-
of Robert Smith; and The (Great) Crush Collision tice of simplifying difficult scores into more tracta-

March, published by John R. Fuller. ble, salable versions. Years later; Scott Joplin, hav-

The first two numbers are uneventful period ing himself suflFered from this practice, was to write
pieces. Crush Collision March, however, is a pe- in his instruction manual. School of Ragtime,
riod piece of a special sort. As much program of the difficulties of playing "real ragtime."
music as a march, it is, strangely, "Dedicated to In 1897 the Texas Medley Quartette ended its

the M. K. & T. Ry.," this being the Missouri, second and final tour in Joplin, Missouri, and
Kansas and Texas Railway, which runs through then disbanded. Scott went to work briefly in the
Temple and there crosses the tracks of another red-light district that clustered around the House
line. The march describes a train wreck that, of Lords, before returning to Sedalia to settle
quite possibly, had recently occurred (otherwise back easily into the community. Not yet thirty
why the dedication?). Could there have been a years old, he would seem to have set his future
wreck at the crossing in Temple? And could Jop- course, at least in his own mind. An already ma-
lin have added sound-effects and descriptive nar- ture man of marked reserve, he was nevertheless a
rative to a piece already written but unpublished? magnetic person whose dynamism was doubly
Or had he quickly composed a work to fit the effective for its quietness. There is no reason to
situation? doubt that he had already formed the radical con-
Topical or not, and with all its bombast. The cept of a classic ragtime worthy of being seriously
(Great) Crush Collision March is a multi-theme accepted and perpetuated in published scores.
piece with the trio constituting a descriptive sec- From his own reliably reported statements we
tion that abounds in musical sound-effects. Speed know that he finished his most famous piece, the
is conveyed by treble chords over a rapid chro- Maple Leaf Rag, in 1897, two years before it was
matic bass, with the narrative printed between the published; also we know what he thought of it.
staves: "The noise of the trains while running at An associate, the white player Brun Campbell,
the rate of sixty miles p>er hour." Then: "Whistling known as "The Ragtime Kid," recalled:
for the crossing," with piercing discords; then
When I bade Scott Joplin good-by as I left for my
"The more by "Whis-
train noise," followed once
home in Kansas in 1899, he gave me a bright new
tle before the collision," conveyed by even more my
silver half-dollar dated 1897 and calling atten-
frantic discords higher up. Then comes "The tion to the date said: "Carry this for good luck and
Collision," a crashing fortissimo chord in the remember that it is dated the year that I finished

bass. my first rag." As he handed it to me he had a very

strange and sad expression in his eyes. I have never
Crush Collision March is chiefly interesting in
forgotten that look. (TAPE 29)
the Joplin story because parts of it may have been
an early essay in ragtime. The evidence for this is Another and closer associate, the young Sedalian
chiefly to be found in the second and third themes Arthur Marshall, related that when the piece was
which, although printed in regular, "square" first completed and written down, Joplin said to

meter, almost beg to be syncopated. That they him: "Arthur, the Maple Leaf will make me King
may have been played that way but printed other- of Ragtime Composers" (TAPR 33).

wise is not surprising. In its very beginnings rag- Now in 1896, back in Sedalia, wandering was
over. A settled, quiet purposiveness took its place. enough time for full fruition, it needed to be
Though the inequities of the Negro's position heard throughout white America and it needed
there, as everywhere in America, forced Joplin to to be preserved in printed scores.

work in the honky-tonk fringe of the Tenderloin, In April 1896 the first of these steps was nego-
he conducted his private life elsewhere. He went tiated. A young Kentuckian, Benjamin Robertson
to live for a few months in the family home of Harney, introduced ragtime as "jig piano" on the
Arthur Marshall, then a fifteen-year-old ragtime stage at Tony Pastor's Theatre on the New York
neophyte. Simultaneously he became Arthur's Rialto. An immediate, resounding hit, it was the
college mate at the George R. Smith College for indispensable initial breakthrough to the white
Negroes operated by the Methodist Church. Jop- world — the white world, that is, that included
lin enrolled in courses in harmony and composi- wives as well as husbands. Within months, coupled
tion to supplement his elementary childhood with a craze for the concomitant Negro social
training in Texarkana and the pragmatic music dance called the cakewalk, ragtime became a na-
education he had acquired in his travels. tionwide craze.
He quickly became the center of Sedalia's black Meanwhile, Joplin and other black rag writers
musical life. The whole varied group of pioneer- were striving for publication. He offered his
ing ragtimers — from the older honky-tonk hands Maple Leaf Rag soon after completing it to the
like Otis Saunders, Jim Hastings, and A. Chestine Sedalia music house of A. W. Perry & Son and was
to youths like Marshall and the fourteen-year-old turned down. Then, less than nine months after
Scott Hayden, a student at Lincoln High gath- — the Harney debut, came the first piano rag publica-
ered around him. It was largely Joplin who ef- tion. A white band leader of Chicago, William H.
fected the drastic change in attitude of Sedalia's Krell, secured a publisher for his Mississippi Rag,
proper, church-going black society. With a quiet, which was copyrighted on January 27 1897.
decent man like him playing in dubious Main At the turn of the century, the only mechanical
Street haunts like the Maple Leaf Club, these music of any consequence was the player piano
purlieus and their syncopated "sinful" music be- with its slotted paper rolls and foot-pumped pneu-
gan to seem less disreputable. When one considers matic action activating the keys. Movies were
the deeply ingrained prejudices involved, it was mute. The early Edison cylinder graphophone
extraordinary that Joplin was able to move so was quite accurately called the "talking machine."
freely between respectable world and underworld. The music in the American home was made there
It was a crucial period for black music which in and —aside from the player piano—was played and
1896 was taking a definitive, potentially classic, sung "live." A piano (or reed organ) was almost
but quite possibly ephemeral, shape in an unsanc- as indispensable as a television set or stereo play-
tioned world. Limited to improvisation and a few back is in 1971. Sheet music was paramount, tied
perishable, unpublished scores, it might well have in with its exploitation in vaudeville, cafe, and
continued for a few years more and then have dis- music store. It is scarcely an exaggeration to say
appeared forever. Fortunately there were person- that the appearance in sheet music of a new music
and forces sufficient to contravene such an
alities hit by a new writer was then as important as a
end.While classic ragtime was flowering at the television premiere in the 1970s.
Rosebud around Tom Turpin and at the Maple So it was that Mississippi Rag opened the flood-
Leaf Club around Scott Joplin, there were a few gates forwhat would soon be a deluge of ragtime
white men becoming interested and involved. publications. That the opener was by a white com-
There is no denying the brutal fact: at that time, poser may reveal our racial priorities but it by no
without white concern and capital, ragtime was means implies that ragtime itself was of white
lost. Practically speaking, were it to survive with origin. Though its cover bears the untrue blurb.
"The First Rag-Time Two-Step Ever Written," Scott Joplin's apprenticeship was now far be-

its picture of black dancers coonjining on a levee hind him. Original Rags is a fine and realized
to the syncopating banjos implicitly acknowledges piece, able to stand with his whole subsequent
the true origins of the music. publication of more than two-score piano works:
In December 1897 Tom Turpin with his Har- rags, marches, waltzes, and a tango. The Original
lem Rag became the first of the black ragtime Rags themes are mutually sympathetic and adroit-
originators to be published. After his turndown ly combined; its melodies are strongly and
by Perry, Joplin seems to have concentrated mostly personally Joplinesque; its combination of off-

on composing. There is no evidence that he saw center treble with regularly accented ostinato bass
John Stark at this time. Stark owned Sedalia's has a formidable "swing" (it was then called "rag-
other music store and had already taken a flyer in giness"). Though appearing early in ragtime his-
publishing with a few inconsequential songs. tory, it is formally realized.
It was the end of 1898 before Joplin went to the Original Rags is both typical and atypical of the
publisher Carl Hoffman in Kansas City carrying characteristic piano rag form which, as we have
several completed rags in manuscript. Encouraged noted, usually combines four sixteen-measure
by his arranger, Hoffman bought a piece called themes in 2/4 or 4/4 meter, generally as follows:
Original Rags but passed up the Maple Leaf Rag. Introduction; A-A-B-B-A; transition; C-C-D-D;
Three months later, in March 1899, Original Rags codetta. The four- to eight-bar introduction is

appeared. The cover portrays an old plantation usual; the short transition is rare and usually used
Negro picking up rags in front of a ramshackle in modulation; the codetta (or "tag") is fairly rare.

cabin; under the title are the words: "Picked by The basic rag schema
comprised in the 144 meas-
is

Scott Joplin —Arranged by Chas. N. Daniels." ures of the four themes arranged as shown al- —
This rather quippy subtitle has been inter- though it should be re-emphasized that this

preted as meaning that Scott Joplin did not com- arrangement is typical, not mandatory, and the
pose this rag but "picked" themes then current in variants are many. In all of them, however, the
the public-domain ragtime world; and that repeats, too often disregarded in performance, are

Daniels arranged the music for him. essential to the symmetry and completeness of the
Neither of these beliefs seems to be well- form.
founded. The inscription, first of all, is a would- The original meter is generally maintained
be-humorous or deprecatory allusion to the in- throughout but, besides the usual 2/4 and occa-
trinsically belittling term "ragtime." It is part and sional 4/4 there are 6/8 march-rags and 3/4 syn-
parcel of the blackface-minstrel ethos: a double copated rag-waltzes. The tempo as set at the be-

pun, first on the activities of a rag (or junk) picker, ginning was — from Joplin's day—held all through.
and second, on the then-new slang term for rag- The functional use of ragtime to accompany
time playing: "picking the piano," which of course marching and dancing (the cake walk was both in
derives from the archaic banjo-picking ragtime one) insured a fixed tempo, just as minuet and
days. As to the music, it is unmistakably Joplin; gavotte were so governed in their day. Neverthe-
the credit to Daniels would appear to have been less, not only is rubato implicit in classic ragtime
the publisher's way of acknowledging his help in (and most particularly so with Joplin), but ritar-

recommending it for publication. Daniels, inci- dandi and accelerandi in melodic turns and in
dentally, later became a successful composer in his cadences seem so obviously pertinent that they are
own right, achieving considerable fame under the an accepted part of serious ragtime playing today.
name of Neil Moret. By 1901 he had a hit of na- The themes may be in one key and mode but
tional proportions in his Hiawatha A Summer — often in two or three keys (generally in a tonic,
Idyl. dominant, subdominant relationship) and, with
 —

Joplin, may involve contrasting minor themes. out to a wider world, he needed a white advocate.
Though Joplin in general adhered to the basic Scott Joplin found that advocate and more, a

A-A-B-B-A-C-C-D-D sequence, it is interesting friend as well as champion, in a fellow Sedalian.

that his first and final rags do not. Original RagSj John Stillwell Stark was a generation older than

like the posthumously published valedictory of Joplin. Born in 1841 in Shelby County, Kentucky,

1917, Reflection Rag, features „ five themes. In of early American stock. Stark was the eleventh
Original Rags the schema also delays reentry of child of a family of twelve. His mother died — in
the first theme: Introduction; A-A-B-B-C-C; mod- that final childbirth —when he was three, and he
ulation; A-D-D-E-E. six when an older brother emigrated with
was only
Apart from technical observations, Original him on horseback to stake out a homestead in
Rags is a charming and auspicious beginning to Indiana.
the life work of the master ragtime composer. Ap- John lived on the farm and did rough field

pearing early in 1899 it was to lead, before the work. He got his log-cabin schooling during the
year's end, to the rag that is the cornerstone of dayswhen the star of a country lawyer named
Joplin's ragtime oeuvre. The Maple Leaf Rag Abraham Lincoln was rising and the conscience of
brought its composer almost instant fame, enabled the North was becoming more and more troubled
him to retire once and for all from the under- by "The Peculiar Institution," slavery.
world, and confirmed his own prophecy: it made John Stark was, and all his life continued to be,
him "The King of Ragtime Composers." a pioneer in attitudeand in act. After serving the
The publication of Original Rags, important as Blue during the Civil War, he married a thirteen-
it was to Joplin, was but one incident in an active year-old New Orleans girl, a pretty little praline
life. In 1899 i"^ Sedalia, when not playing publicly, vendor named Sarah Ann Casey, took her North,
he was composing or teaching. He helped Arthur sent her to school, took a homestead in Missouri,
Marshall and Scott Hayden to complete their first and began to raise a family. By 1872 there were
ragtimes essays: Swipesy Cake Walk and Sunflower three children: two sons, Etilmon and William,
Slow Drag. Joplin was encouraging his two teen- and a daughter, Eleanor.
age Sedalia proteges to compose, was helping them By 1880 he had gone from pioneer farming on
to arrange and write out their material, and him- to pioneering in the then new ice cream business,
self writing themes to fill out their conceptions making his own product and selling it through the
all to assist them in getting publication. When the countryside from a Conestoga covered wagon.
actual publications appeared they bore joint com- Soon, pioneering again, he was carrying a reed
poser credits. organ for sale along with the ice cream. Success
in peddling these harmoniums eased him into the
music business. In 1885 he moved from Chilli-
MAPLE LEAF RAG cothe eighty miles south to the bustling railroad
center, Sedalia. There, with his younger son. Will,
Although creatively far ahead of his time and he set up a music store. In the years that followed,
place, Joplin was also imprisoned in it. Beyond the the music house of John Stark &: Son planted itself

publishing of piano rags and, perhaps, money and firmly into the local scene.
a certain circumscribed fame, where, in America, Soon Stark and his talented family were at the
could he go? Even in Sedalia he was limited to the focus of white musical life in Sedalia as Scott
black world or the tolerance —and exile —of the Joplin and his two youthful proteges were on the
Tenderloin. If his conceptions were those of black side. Stark's elder son Etilmon, a violinist,
genius, still his genius wore a black skin. To real- became a bandleader and music instructor at the
ize his expanding visions and, with them, to reach local military academy, and daughter Eleanor (or
Nell) was doing so well at the piano that she would in-law. As Carrie Bruggeman she had been a
soon be sent abroad to study with Moritz Mosz- song plugger in a St Louis department store
kowski. Musical soirees were held at the Stark when Will met her after the Starks had moved
store and, on occasional summer nights, Sedalians to St Louis and several years after the publication

were treated to serenades. An 1894 item in the of Maple Leaf Rag. In 1961, a dozen years after
Sedalia Gazette described one of these evening Will Stark's death, his widow gave the following
musical treats, with Miss Nellie Stark as one of account:
the performers {TAPR 49). According to Will . . . Joplin wandered into the
Five years later another pleasant musical event Stark store in Sedalia one day holding the Maple
would decisively alter the lives of two men, one Leaf Rag manuscript in one hand, and a little boy's
black and one white: Scott Joplin and John Stark. hand with the other. Sitting down at the piano,
moment proved Joplin began to play the now-famous tune while
What began as a casual musical to
the youngster stepped it off. Grandpa (John Stark)
be one of the first shots of the Ragtime Revolution.
thought nobody would play it because it was too
It was the summer of 1899. Stark, already a difficult. but Will was so taken with the lad's
. .

grizzled, bearded man of fifty-eight, dropped into dance, that he decided to buy it.'^

the Maple Leaf Club on Main Street for a cool

One might venture to doubt that Will, rather
beer. "Quaffing the brew," as one said in those On
than John Stark, was making the decisions.
days, he heard syncopated music coming from the
the other hand, one might believe that Joplin
upright piano at the rear. He listened: though his
did bring along a little dancer. That he was
daughter might play Liszt and he might approve, deeply fascinated by the close ties between danc-
he himself, nurtured on folk music, was incorrigi- ing and ragtime is seen in the work he was then
bly native. He listened and then, schooner in
composing, The Ragtime Dance.
hand, strolled over. A black man was playing a rag.
One by one its four themes rippled out over the
striding bass. By the time the first theme had reap- EXPANDING VISIONS
peared. Stark was tapping his foot and smiling.
The player looked up and nodded his head in
As the Maple Leaf Rag neared publication in
greeting.
September 1899, Joplin was busy preparing The
When the piece came to an end, Stark said:
Ragtime Dance for a public performance. Al-
"Hello, Joplin. That's a good number. Is it
though there were precedents for the style and
yours?" Assured that it was, he asked the com- new work represented
format of his piano rags, this
poser to drop in next day at the Stark store. a strikingly original concept: a kind of ragtime
Joplin came, the Maple Leaf Rag conquered, and ballet based on Negro social dances of the time,
John Stark bought it for fifty dollars with an with sung narration.
arrangement for a continuing royalty to Joplin.
The Ragtime Dance was Joplin's journey-piece
That is the story of how it began as told a
on his way to full-length opera. In the introduc-
half-century later by one of Joplin's Sedalia
tory section the vocalist sets the scene for an
friends, Tom Ireland, who had played clarinet elegant ball. Five dance themes follow, each
with the Queen City Concert Band with which one repeated, with each repeated section calling
Joplin had once played cornet.^ for a different dance step, during which the
What happened the next day was related still singer acts as the caller of the figures. The danc-
later by Mrs Will Stark, John Stark's daughter- ers are directed to execute now-forgotten dance

6 Conversation with Rudi Blesh and Harriet Janis, in 7 Interview with Dorothy Brockhoff, St Louis Post-
Sedalia, October 26 1949. Dispatch in January 1961.
steps: Ragtime Dance, Clean Up Dance, Jennie the metric patterns or melodic lines of Joplin's
Cooler Dance, Slow Drag, World's Fair Dance, prototype, or else had variants or new melodies
Back Step Prance, Dude Walk, Sedidus Walk, based on its harmonic progressions.
Town Talk, and the minstrel-show dance special- Toward the end of the summer of 1900, Stark
ty Stop Time, in which strong beats and tacets moved his business to St Louis. The Maple
are marked by foot stamping. Leaf Rag dictated and financed the move. For
Late in 1899 Joplin rented the Woods Opera a short while Stark and son ran off hurried copies
House in Sedalia for a single night. The Ragtime in a hotel room on a rented hand press. These
Dance was performed there by four dancing hurried copies helped to pay for a printing plant
couples, with Will Joplin as vocalist, and the on Laclede Avenue. Then the voluminous copies
composer conducting a ragtime orchestra from from the plant bought a family home for the
the piano. The orchestration had cost many weeks Starks on Washington Boulevard. A labor shift
of work, with faithful Arthur Marshall painstak- was added; father and son took off their overalls,
ingly copying the parts. donned blue serge, and moved into offices. Other
The Stark family was invited, the expressed rags began to be issued, the first of which was
hope being that John Stark would publish the the Joplin-Marshall collaboration, Swipesy Cake —
work. With the Maple Leaf so recently pub- Walk. It was an auspicious start for a fifty-nine-

lished and only just beginning to catch on, it year-old ex-soldier, ex-farmer, ex-ice cream manu-
was patently too early to approach Stark with so facturer, ex-music store owner in a new business
ambitious a project. While he did not turn it in a new city at what was then considered an
down, the matter was shelved for the time being. advanced age. Some years later, in his seventies,
Shortly after this the Maple Leaf Rag began Stark wrote, with his wry, persimmon-puckered
to take hold. First it sold out in Sedalia. Then humor: "There is an impression that old men
outside inquiries began coming in. Stark moved should be chloroformed at sixty."®
to set up sales contacts, first throughout Missouri, Scott Joplin followed right after Stark. Just
then regionally, then nationwide. The first great before leaving Sedalia he married Belle Hayden,
instrumental sheet music hit in America was Scott Hayden's widowed sister-in-law. They found
happening: sales snowballed, moving in the first a house in St Louis at 2658-A Morgan Street,
six months or so toward the first 75,000 copies. where they would remain for three years. Joplin
Eventually it would top the million mark. It now concentrated completely on teaching and
has long since moved out of the "hit" class: hits composing. With the added income from Maple
fade, but Maple Leaf has become an American Leaf royalties he abandoned all further activity
institution. It is still in print and still popular. in the sporting world. Now, during his occasional
Where Original Rags is the essence of folk calls at the Rosebud, he was a visitor, not a
dance-song, the Maple Leaf Rag is alive with competitor for the parlor jobs. His friendships
announcement and expectation, a prelude in the with Turpin and the younger men like Louis
musical sense of the term: a curtain seems to Chauvin and Sam Patterson remained unchanged.
rise with its abrupt ascending arpeggio. And a Added financial security came when Mrs Joplin
true prelude the Maple Leaf was, in the lives converted their residence into a professional
of composer and publisher and, in a wider sense, boarding and rooming house
as the curtain-raiser for the phenomenal devel- In March 1901, with Stark caught up on pro-
opment of classic ragtime that immediately en- duction, three new Joplin works were published:
sued. It was, to perfection, the archetype. For at
least a dozen years a large proportion of pub- 8 Quoted in TAPR from Axel Christensen's
(52)
lished rags consciously or unconsciously followed Ragtime Review.
Peacherine Rag, Augustan Club Waltzes, and a Days and a month later S. Simon released Cleopha.
collaboration with Hayden, Sunflower Slow Drag. Though the song bears the date MCMI it was not
Sunflower is among the early gems of ragtime. copyrighted (nor, presumably, issued) until 1902.
The musical rapport demonstrated here, as in The first Joplin song to appear since 1895, it is

the Joplin-Marshall Swipesy, indicates the gen- a folkish melody somewhat in the Stephen Foster
erous relationship that Joplin could establish vein but essentially a sentimental potboiler.
with other talents. Blithely ignoring Hayden, how- Worse: by today's standards the lyrics, written by
ever, Stark wrote the blurb for Sunflower in his Henry Jackson, are studded with objectionable
characteristically flamboyant style: terms like "pickaninny" and "darkey," and pre-
sent the false notion that the old plantation days
This piece came during the high tempera-
to light
were a happy Eden for Negroes.
ture of Scott Joplin's courtship, and while he was
touching the ground only in the highest places, Cleopha, subtitled March and Two-Step, is

his geese were all swans, and the Mississippi water very much a march in character but with spicy
tasted like honey-dew .... If there ever was a song syncopations. It almost immediately became a
without words, this is that article: hold your ear to favorite of the Sousa band. The brass band idiom
the ground while someone plays it, and you can
also determines the overall character of A Breeze
hear Scott Joplin's heart beat. (TAPR 53)
From Alabama.
Seven months passed before the next rag ap- 1902 is notable for the appearance of The
peared. The Easy Winners, a captivatingly melo- Entertainer. Its beguiling melodies are as sunny
dious piece, was Joplin's first publication of one as any that Joplin ever wrote, their frank, open
of his own works. Why Stark did not issue Easy folklike quality artfully concealing a fastidious
Winners is not clear, but it shows that Joplin art.The Entertainer was dedicated to James
could hardly (as some believe) have signed an Brown and his Mandolin Club and indeed some
exclusive five-year contract with him at the time of its melodies recall the pluckings and the fast

he had bought Maple Leaf. The existence of such tremolos of the little steel-stringed plectrum in-

a contract has never been confirmed by Stark's struments that were once so popular. At the turn
descendants. mandolin orchestras of fifty pieces
of the century,
Joplin, meanwhile, continued his efforts to per- — and twelve-string mandolins with
eight-, ten-,

suade Stark to publish The Ragtime Dance. He mando-cello and mando-bass or guitarron were —
decided to present it again, this time for the not unknown. Far more common, however, were
Starks alone in a private hall. Nell Stark, just the small wandering string groups called "sere-
returned from her European studies, talked her naders." Combining guitars, mandolins, fiddles,

father into publishing the much-mooted work. and string bass, they played ragtime, waltzes, and
It was finally issued in 1902 and its extremely popular ballads in the streets. Invited indoors,
meager sales bore out Stark's reservations about they might join with the piano.
publishing it. In 1903 Joplin bought a thirteen-room house
The publication came at the very end of the in a good neighborhood on Lucas Avenue. The
year, together with more Joplin works:
three St. Louis city directory of that year listed him
A Breeze From Alabama, Elite Syncopations, and as music teacher, an inadequate description of a
The Entertainer. Shortly before this, in addition, life mostly given to composing. As the year pro-
Stark had issued Joplin's March Majestic and gressed, Joplin's relations with John Stark became
The Strenuous Life. Nor were the six Stark issues strained, largely because of the commercial failure
all that Joplin had published in this fertile year. of The Ragtime Dance. It was already becoming
In April the Thiebes-Stierlin Music Co had pub- apparent to Stark that his star composer was not
lished a song, I Am Thinking of My Pickaninny going to remain content with writing only short
(and readily salable) piano rags; he knew that imitative with no real opinions of their own.
Joplin already was well along in composing a They associate art with Florentine frames,
ragtime opera and that he was counting on him to matinee hats, distant museums, and clever talk
publish it. full of allusions to the dead. It would not occur
The situation had the makings of an impasse. to them to search for American art in the archi-
Although there was mutual good«will, each man, tecture of railway stations and the draughtsman-
according to his lights, was right. Joplin's natural ship and sketch-writing of newspapers, because
concern was to develop his art and to have his they have not the wit to learn that genuine art
works published and performed. His imagination, flourishes best in the atmosphere of genuine pub-
which had long ago overtaken other ragtime lic demand."
writers, was now threatening to leave Stark be- Bennett made no big thing of pedigree or
hind as well. As Stark saw the matter, just to sanctions. "The sole test of a musical public," he
publish fine piano rags and propagandize them continued, "is that it should be capable of self-

(as he was ably and vividly doing) seemed a revo- support. I mean that it should produce a school
tionary thing in itself. He staunchly believed in of creative and executive artists of its own, whom
ragtime as he knew it. But it appeared doubtful it likes well enough to idolize and enrich, and
that he could make the giant leap of faith from whom the rest of the world will respect."
piano rags to ragtime ballet, opera —and who Almost as Bennett was writing, the influential
knows? —even symphony. magazine Musical America was complaining that
Joplin, however, saw it not as a leap but as a ragtime "exalts noise, rush, and street vulgarity.
logical development. He would go on believing It suggests repulsive dance-halls and restau-
this until he died. Few if any in America had rants."^** (Musical America was far too refined
similar vision and faith. The picture was con- even to hint at bordellos in the offing!)

siderably clearer to open minds elsewhere, away This was the chilly, official side of the home
from the moralistic and racial prejudices that climate that John Stark felt. The problem was
distorted and inhibited our acceptance of a simple enough: He was a "realist"; Scott Joplin
native art. was an artist. As the situation developed, a New
The enlightened European view of the Ameri- York popular composer, Monroe H. Rosenfeld,
can cultural scene in that period was well doing an article on Joplin in a St Louis news-
expressed by Arnold Bennett in 1913.^ Unequivo- paper, reported:
cally he wrote that "ragtime is absolutely charac-
Joplin's ambition to shine in other spheres ....
teristic of its inventors —from nowhere but the To this end he
is

is upon an
assiduously toiling
United States could such music have sprung. . . .
opera, nearly a score of the numbers of which he
Nor can there be any doubt about its vigour, has already composed and which he hopes to give
brimming over with life. Here for those . . .
an early production [in] this chyM
who have ears to hear are the seeds from which Despite his concentration on A Guest
of Honor,
a national art may ultimately spring." But Ben-
the opera in question, Joplin had ready, or was
nett had scant faith that our ears would hear. completing, several new rags, none of which
"The American dilettanti," he said, "never did were brought out by Stark. The Val A. Reis Music
and never will look in the right quarters for
Company of St Louis issued Weeping Willow
vital art. A really original artist struggling under and also a new Joplin-Hayden collaboration.
their very noses has small chance of being recog-
Something Doing; the Chicago house of Victor
nized by them, the reason being that they are

10 Musical America (March 29 1913).

9 The Times (London) February 8 1913. 11 St Louis Globe-Democrat (June 7 1903).
Kremer published Palm Leaf Rag; a song Little Check your razors and your guns:
Black Baby, copyrighted by one Louise Armstrong We'll be 'rasslin' when the wagon comes. . .
.^^

Bristol and published by Success Music Company, But there was also black pride in Dunbar's poem
Chicago, completed the year's output. and in Bessie's music.
The 1903 rags are prevailingly songlike; even Joplin's obsessive drive towards completing,
the rhythmic Something Doing has a beautifully staging, and getting publication for the opera
flowing second subject. In Weeping Willow the A Guest of Honor threw the Starks into a state
trio— frequently a strongly rhythmic section in of confusion. Stark descendants have related that
Joplin's rags —continues the flowing cantilena. the opera was a family topic" for years, a project
The variety in the composer's melodic concepts initially embraced, then postponed, then planned
is evident if one compares Weeping Willow and again, but never accomplished. For one thing,
Palm Leaf Rag. The first is like particularly they wanted Joplin to write a stronger book and,
graceful folk song; the melodies of the second, apparently, he never did.
no less graceful, are song sublimated for the The story of Scott Joplin's first opera not only
sophisticated music salon. Little Black Baby, on is a sad story but also a nagging, unsolved mystery
the other hand, must be dismissed as an un- entangled in a web of rumors. For what little

fortunate potboiler, difficult to reconcile with is known of the presumably only public perform-
Joplin's usual good taste. It would seem to have ance (although it is rumored also to have been
been fitted to order to an excruciatingly coy text done once in Sedalia), we must again rely upon
by a lady amateur lyrics-writer and published at Marshall:
her expense (the copyright is in her name) by a
As for the Rag Time Opera, A Guest of Honor was
"vanity press." The cover design shows a photo-
performed once in St. Louis. In a large hall where
graph of a white —not black — baby, but omits they often gave dances. It was a test-out or dress
Joplin's name, which is just as well. rehearsal to get the idea of the public sentiment.

Joplin himself was guilty on occasion of writing Itwas taken quite well and I think [Joplin] was
vocal texts that contained objectionable terms, about to get Haviland or Majestic Producers to
handle or finance the play, also book it. I can't
but of a different and more significant kind. The
use of expressions like "coon," "razor fight," and
say just how far it got — as I was very eager for
greater money, I left St. Louis for Chicago. (TAPR
"dark town," found in the opening section of
70
The Ragtime Dance, for instance, illustrates a
was never booked, performed again, nor pub-
shameful convention that was accepted — then It

There are rumors (not too fanciful to be

and for a long time to come —by black and white. lished.

true) that Joplin later published some of its

In Joplin's time the vanguard poet Paul Laurence
numbers as separate rags. If so, their identity is
Dunbar could write:
not known. At the time, anyway, Scott Joplin's
But hit's Sousa played in rag-time, an' hit's Rastus first major project had become a major frustration.
on Parade, Nor is this all. Here begins the unsolved mys-
Wen de colo'd ban' comes ma'chin' down de tery: what became of the book and score? In
street.i2
1946 the late Roy Carew, an early and ardent
And on into the igsos the greatest of all blues Joplinophile, looking through the files of the
singers, Bessie Smith, who could unflinchingly Copyright Office in Washington, found a card
indict white exploitation of black in Poor Man's with the notation: "A GUEST OF HONOR, a
Blues, could also sing:

13 Gimme a Pigfoot and a Bottle of Beer on the

The Complete Poems of Paul Laurence Dunbar
12 Columbia recording (CL 856) The Bessie Smith Story,
(New York: Dodd, Mead & Co 1896, 1913) 286-287. Vol 2.
 .

ragtime opera, written and composed by Scott Scott Joplin himself. May anyone see these pre-

Joplin. Entered in the name of Scott Joplin, cious pages? No!

under C 42461, Feb. 18, 1903." He also reported Well. . .

the further notation: "Copies never received." All this, of course, is the lighter side of a most

All traces of the original manuscript have van- melancholy matter. The fate of A Guest of Honor
ished, but even as late as the early 1950s there is the sad tale of what might have been, for the
were people still living who remembered the time was right (and the public ready) for a syn-
opera and its beautiful raggy music. copated American opera. A Guest of Honor, how-
As to its whereabouts, what had started as con- ever, was not the first opera by a black-American
jecture soon developed into unlikely rumors and composer. In 1893 The Martyr by Harry Law-
far-fetched clues. Lottie Stokes Joplin, Scott's rence Freeman (1870-1954) had been produced
second wife, whom he married later in New York, in Denver. Freeman subsequently composed more
had no knowledge of what had become of score than a dozen operas, mostly based on American
or book. She ventured a tentative opinion in Negro, Indian, African, and Oriental subjects,

1949 (thirty-two years after Joplin's death) that many of which were widely performed under
the missing material might, just might, have been Freeman's direction. He wrote at least one jazz

in a trunk full of Joplin's clothing, unpublished opera in the 1920s, and his work Voodoo is be-

music, and family photographs, that Jop-

letters, lieved to be the Negro opera on a Negro
first

lin, she said, had left against an unpaid bill in theme and performed by a Negro cast to have
a theatrical rooming house in Pittsburgh. This been produced on Broadway (1928). He and
would have occurred not long before their mar- Joplinknew each other and Joplin's interest in
riage when, between 1907 and 1909, Joplin was composing operas may very well have been stimu-
intermittently out on vaudeville tours. The trunk, lated by his familiarity with some of Freeman's
Mrs Joplin said, had never been reclaimed, nor earlier works. ^*
could she give an address for the rooming house. In 1904 St Louis got its World's Fair after
Was A Guest of Honor in that trunk? a year's postponement; John Stark Sc Son resumed
Since 1950, The Case of the Missing Opera the publication of Joplin rags; and the composer
has engaged and baffled serious ragtime buffs. himself continued to develop and refine his syn-
One comes up with a rumor: "X says Y toldhim copated piano pieces. Four rags were published:
that someone —maybe Z — just found the manu- The Cascades, The Sycamore, The Chrysanthe-
script in a music store in St Louis." Next time mum, and The Favorite.
around the music store was in Columbia, Mis- Only The Favorite belongs melodically and
souri.
structurally wholly to the Sedalia period and in
Then rumor has it that A Guest of Honor is in
fact was published there by A. W. Perry & Sons
an ancient iron Wells Fargo safe in Nevada City,
who in 1898 had turned down the Maple Leaf
California.Then it is in one in Carson City,
Rag. The ragtime player, composer, and Joplin-
Nevada. Then a Sedalia informant claims to have
ophile, Trebor Jay Tichenor of St Louis, says
found the first three pages of the original manu-
script. Culled from these (but not seen by anyone
14 See Edward Ellsworth Hipscher American Opera
else) comes a supposed list of numbers from the and Its Composers (Philadelphia: Theodore Presser Co
opera: Sundown Rag, Jubilee Rag, Freedom's 1927) 189-195 and Baker's Biographical Dictionary of
Etude, Elijah's Drag, Butler's Drag, Reception Musicians, 5th ed, completely revised by Nicolas Slonimsky
(New York: G. Schirmer 1958) 509-510. In August 1971
Rag, State Fair Rag, etc. The scene of the opera,
Mr Valdo Freeman, the composer's son, provided his
says the informant, was a reception in the Mis- father's correct birth date and confirmed that his father
souri Governor's mansion. And the guest of honor? and Joplin were friends.
that Perry had bought The Favorite in 1900. Joplin rag to use a trio of a particularly personal,
With Maple Leaf such a hit, one wonders why caressing quality, gently syncopated and marked
they delayed publication o£ The Favorite for piano and dolce. This mood, though far from
four years. the wine-room world, still retains the quintessen-
The Cascades is program music with its subject tial swing.
the Cascade Gardens, the notable watercourse Also published in 1904 was the Maple Leaf
of fountains, lagoons, and cascades that was a Rag —Song, the first of two such adaptations; the
central feature of the Fair. A virtuoso piece, it Pine Apple Rag —Song followed six years later.

too flows and ripples while building an infectious Both are highly superior to the other Joplin songs,

swing. Though not indicated in the score, in excluding those in his longer works. They are
performance this work seems naturally to tend gay, catchy, slangy, and extremely singable, mak-
towards a gradual acceleration. The treble part is ing no bows to the often maudlin taste in songs
customarily played an octave higher in the repeat, of the period.
an effect that is often heard in ragtime playing, The excellence derives in no small part from
and actually indicated in the scores of both The their lyrics — lyric writing, certainly, was not
Entertainer and Elite Syncopations. The corre- among Joplin's outstanding gifts. Sydney Brown's
spondence of all this to Negro vocal practices adroitly rhymed words for the Maple Leaf Song
should not be considered accidental. The singing contain such gems in the verse as the following:
in many black churches, then and now, builds ten-
I dropped into de swellest ball
sion through gradual speedup, while the women's The great exclusive 'IT',
voices often echo the preacher's phrases. But my face was dead agin me
In the body of Joplin's work. The Cascades And my trousers didn't fit;
looks in both directions. The first theme has an But when Maple Leaf was started
ascending arpeggio similar to the one in the Maple My timidity departed,
Leaf, but this time in sixths. The fourth theme I lost my trepidation.

leans harmonically on Maple Leaf while the trio You could taste de admiration.

shows an interesting development in a "stride" In the chorus the words rise to a kind of ragtime
bass that intermittently breaks into thundering triumph.
octaves reminiscent of those characteristically The tangy vernacular prosody fits rhythm and
shouted out by Sousa's trombones. melody like the proverbial glove. They are worthy
The Cascades clearly indicates its composer's of the famous music. Joplin's fascination with
ability, while continually refining his material, the dance continues here: two of the original
to retain undiminished the earthy vigor and native themes are sung, but trio and fourth theme are
While others were
force of black folk-elements. for solo piano and entitled: DANCE—Either or
merely "ragging the syncopating war
classics" — both strains may be used for the dance.
horses like Mendelssohn's Spring Song or his
ubiquitous Wedding March Joplin was effect- —
ing a basic, germinative fusion of disparate mate- ON THE MOVE
rials.

In the 1904 works there are interesting devel- The year 1905 brought the publication of five
opments in many directions. The Sycamore works. Only one is a piano rag: Leola — Two Step,
features an increasingly free bass line with con- which was first registered at Stationer's Hall, Lon-
trapuntal answers to the treble. The Chrysanthe- don. One of the rarest of the Joplin rags, it was
mum presents a teasing, whirling little pattern not really known until the 1950s when Dr Hubert
a la bourree. Chrysanthemum is also the first S. Pruett of St Louis found a copy. Leola has a
 "

first subject punctuated by octaves for both hands smooth and elegant themes, in five different

and a second strain of flowing melody employing tonalities, are connected by deft transitional pas-
thirds in the manner then known as the "Spanish" sages. The introduction and coda are built on the

or "La Paloma" style. same fragment of the first theme.

Joplin habitually gave his rags tempo designa- In 1905 one Joplin song was published, Sarah

tions like Tempo di marcia, "Slow march tempo," Dear, with words again by Henry Jackson. Al-
or simply "Not fast." With Leola he began adding though the chorus of Sarah Dear is identical with

the warning that would be seen in most of his the then current Barney-Seymour hit rag. The
works to come: St. Louis Tickle, none of the composers involved
had priority, for the tune was a ribald song of the
Notice! Don't play this piece Mississippi riverboat roustabouts. It had appeared
fast. It is never right to
six years before in Ben Harney's Cakewalk In
play "rag-time" fast. Author.
the Sky and during the same period in New
With the ragtime revival of the 1940s, some Orleans. Jelly Roll Morton recalled it as the
younger players interpreted these instructions theme song of the jazz pioneer, trumpeter Charles
over-literally, slowing some inherently lively "Buddy" Bolden, with lyrics only slightly sani-
pieces down to a dispirited walk. In extreme tized from the levee camp versions:
cases Tempo di marcia almost became Marche
Ithought I heard Buddy Bolden say
funebre. The newcomers felt that, though it "Nasty butt, stinky butt, take it away,
might not swing, ragtime was being played in the Funky butt, stinky butt, take it away
—
authentic manner. Actually, any piece of music I thought I heard him say.

dictates- —within rather clear limits — its own

with Bolden's admonition to his tough little band
proper tempo. Joplin's injunction needs to be
to play "slow drag" and:
read in the light of his time, when a whole school
of "speed" players whose sole claim to fame was 'Way down, 'way down low.

digital velocity were ruining the fine rags. Most So I can hear those whores
Drag their feet across the floor!
frequently felled by this quack-virtuoso musical
mayhem was the Maple Leaf. Joplin's concept of Ill-fated Louis Chauvin used the same little

"slow" was probably relative to the destructive melody in his 1906 song Babe It's Too Long Off.
prestos of his day. These folk ditties traveled far and wide, as sundry
In 1905, The Rosebud March appeared, dedi- accounts show. Virgil Thomson recalls this same
cated to Tom Turpin, and named for the famous "funky butt" song on the Missouri River in his
saloon. It is a rousing 6/8 piece with a thirty-two Kansas City boyhood, while Dr Newman Ivey
bar trio that is both songlike and waltzlike. White reported it as a work song in Augusta,
There were two waltzes in 1905, each charming Georgia, and a street song in Statesville, North
and one of them important in the composer's Carolina. 1^
development. Binks' Waltz is a tuneful, well- Jackson simply put words to a current folk ditty
written three-theme piece with instructions for and Joplin wrote a piano accompaniment, though
tempo, dynamics, and rubato. The other waltz, the music of the verse seems to be original. The
Bethena, is perhaps Joplin's finest waltz. It clearly chorus of Sarah Dear is his only known published
earns its subtitle of "concert waltz" but, unlike use of an actual folk tune.
Binks' , Bethena is a ragtime waltz, a fully syn- In 1905 tensions began to develop in the Joplin
copated piece in 3/4 time. Syncopation, which
in 2/4 ragtime is a thing of great excitement, in 15 Newman I. White American Negro Folk-Songs
3/4 becomes a subtler intoxicant. Bethena' s five (Cambridge: Harvard University Press 1928) 279.
 —

household. A baby girl had been born but, ill which, on stylistic evidence, may have been writ-

from birth, she survived only a few months. The ten a year or two earlier.
boarding house residents knew little of the domes- Joplin did not move east directly from Chicago,
tic troubles brewing but Arthur Marshall remem- though the Stark head office was already in New
bered that Joplin's "composing and teaching of York on Twenty-third Street, just east of the
ragtime music was greatly disturbed." Marshall new but already famous Flatiron Building. He
was tactful and delicate in detailing this critical was restless and uncertain. Toward the end of
phase in the life of his friend, father-figure, and the year he went back to St Louis and until well

benefactor: into 1907 lived with the Tom Turpins, working

on new That same year he also visited
rags.
Mrs. Joplin wasn't so interested in music and Texarkana before he finally moved on to New
her taking violin lessons from Scott was a perfect
York and a new life.
failure. Mr. Joplin was seriously humiliated. Of
home Before this, however, during the difficidt year
course unpleasant attitudes and lack of in-

terests occurred between them. of 1906 and while still in Chicago, Joplin man-
They finally separated. He told me his wife had aged to collaborate on one memorable rag with
no interest in his music career. Otherwise Mrs. the fading Louis Chauvin, trapped in the Chicago
Joplin was very pleasant to his friends and espe- red-light district and lacking the will to leave.
cially to we home boys. But the other side was
When Joplin went to see him, it was all too ob-
strictly theirs. To other acquaintances of the fam-
ilyother than I and Hayden and also my brother
vious that the still romantically handsome youth
Lee who knew the facts, Scott was towards her in of twenty-four was nearing his end. The gifted
their presence very pleasing.
A shield of honor toward her existed and for
Creole —part Ibo, part Indian, and part French
was smoking opium and beginning to show the
the child. As my brother Hayden and I were
. . .

frightful terminalsymptoms of syphilis. In less

like his brothers, Joplin often asked us to console
than eighteen months after Joplin's visit he was
Mrs. Joplin — perhaps she would reconsider. But
dead.
she remained neutral. She never was harsh with us,
but we just couldn't get her to see the point. So a Yet in that disordered, penultimate time, Chau-
separation finally resulted. (TAPR 79-80) vin was still fitfully creating ragtime. He had two
beautiful themes at hand and right there in the
It was early in 1906 that the Joplins parted.
bawdy-house parlor, as Sam Patterson has related,
He went to Chicago and for a short while stayed
Joplin sketched two of his own.^^ The fruit of the
with the Marshalls, Arthur having married and
visit is thirty-two measures of music saved from
moved to Chicago in the interim.
the unpublished prodigality of a heedless, wastrel

He went ... to see some publishers. He said they genius. They are the first two themes of one of
received him Perhaps they didn't talk
cordially. the masterpieces of ragtime literature, the Joplin-
to suit him, so he never said more. He was . . .
Chauvin Heliotrope Bouquet, issued by Stark
very eager to go to New York. This was the last in 1907.
time that I ever saw him. (TAPR 231)
Conforming with Joplin's propensity for floral,

It is likely that Joplin had little new music to folial, and arboreal titles. Heliotrope Bouquet

offer for publication and was only making con- validates its name by the atmosphere of Chauvin's

tacts, for in the year 1906 only two publications themes, clothed in his exquisitely personal har-

appeared, both issued by Stark. One is a con- mony. They are as darkly perfumed as a Chopin
densed piano version of The Ragtime Dance, nocturne. Joplin's trio and fourth subject are at

known from Stark family reports to have been once a comment on the Chauvin themes and a

an attempt to recoup the losses on the longer 16 Conversation with Rudi Blesh and Harriet Janis,
version. The other is the 6/8 march, Antoinette, New York, November 1949.
 a —

farewell to a friend. Evidently moved both by Perhaps the many decisive changes in Joplin's
the music and his personal knowledge of the personal life — the death of his infant daughter
Chauvin story, John Stark advertised Heliotrope and (shortly after their separation) of his wife,

as "the audible poetry of motion." his move to New York after restless wandering
The publication marks the end of the year, may have contributed to the expanded direction
with Joplin already based in New York. The his creative work was now following.

year as a whole had witnessed large publication: Searchlight Rag was published by Joseph W.
no less than eight issues, including two songs, Stern of New York. The title is an implied com-
two collaborative rags and four by Joplin alone. pliment to Tom
Turpin and his brother Charlie,
Three of the four quietly announce a profound a reference to the town of Searchlight, Nevada,
maturing taking place. where, about 1881, the brothers had been seek-
The songs are Snoring Sampson, with words ing gold in the Big Onion Mine. Searchlight Rag
by Harry La Mertha, and When Your Hair Is abounds in elements that show Joplin's loyalty
Like the Snow, to lyrics by Owen Spendthrift. to his American past as well as his ability to
No copy of the former could be located but, on transmute these vernacular source materials into
the evidence of its title and the ascertainable exquisitely wrought compositions. In the second
quality of the latter, both can be dismissed with- theme, for example, the ragtime stride bass alter-

out further comment as potboilers. nates with the "barrel house" walking bass in
Heliotrope Bouquet, of course, is one of the octaves, and in the fourth theme there occur
1907 collaborative pieces; the other, Lily Queen, the jangly, pleasantly dissonant treble chords
is a ragtime two-step co-composed with Marshall. then called "crazy chords."
Hiding behind its cover artwork — a charming Gladiolus Rag is one of the most successful of
pompadoured Gibson Girl niched in lilies the — all Joplin rags in its realization of the special
Lily Queen expresses two musical personalities: nature of rag form. This, in effect, began as
Marshall and early Missouri, and Joplin, searcher non-form, a simple sequence of four tunes. Joplin
for wider horizons. On musical evidence, Mar- saw more in it; saw, too, that were the rag, on its

shall's themes come first, the A strain a nicely own terms, to become more than a loose necklace
chorded march, followed by a flowing second of tunes, the themes must in some way build,
theme. With the trio we move into the new — that form a meaningful sequence.
is,

ragtime infinitely more sophisticated yet pensive The problem was made difficult by the special
as well, with {X)rtents of the muted melancholy of characteristics of the rag: uniform tempo and a
Joplin rags that were to come. A chromatic de- single meter throughout. There also was avoid-
scending figure from Chauvin's second Heliotrope ance of thematic development: a theme, stated
theme is quoted in the trio and the final lyrical and reprised, was always the same.
strain makes striking use of recurrent appoggia- Granted that many of these quirks had arisen
turas. from musical semi-literacy: still, to have invoked
Of the four 1907 rags by Joplin alone, only more elaborate technical procedures would in
Nonpareil (published by Stark) looks back in the the end have all but completely transformed its
main to the Sedalia-St Louis years. The others basic flavor. Whatever his reason, Joplin chose
are of a different time and place, a musical remove the harder course: that of creating meaningful
as wide and decisive as their composer's physical music without changing the rag's own rules.
move to NewWith the rags Searchlight,
York. His composed (although second published)
first

Gladiolus, and Rose Leaf we find a creative flow ragtime essay, the Maple Leaf Rag, indicated the
that is melodic but also deeper, richer, more would take: the opening
direction his solution
reflective, and more assured. theme must capture ear and imagination; then
 — .

each succeeding theme must form an episode in for love is so clearly avowed in his music —was
a musical story. Ideally, then, the final theme the single life. In New York he met Lottie Stokes
should say the last word or else invite a restate- and in 1909 they were married. She accompanied
ment of the first words. him as he wound down his public, touring life

Almost to perfection. Gladiolus Rag realizes and then, back in New York, they set up the kind

this narrative quality of cumulative emotion and of theatrical boarding-house-cum-conservatory that

developing musical tliought. Its final theme is seemed natural habitat. Their first house
his

so definitely a strong concluding statement that was 252

at West Forty-seventh Street. Sam Pat-

a reentry of any of the earlier themes is almost terson and others remembered this house and the

inconceivable. later one uptown. Joplin devoted himself to music-

Rose Leaf Rag, published by Joseph Daly of teaching and the careful, seemingly endless work

Boston,is another 1907 masterpiece. Like Search- on manuscripts, one, in particular now, that al-

light Rag and the igo8 Fig Leaf Rag, it unavoid- ready bore a title: Treemonisha, Opera in Three
ably had to be omitted from this edition. (See Acts. Mrs Joplin saw to the housekeeping, shop-
Editor's Note, p xi above.) With Searchlight, ping, cooking and serving of meals, and the more
Gladiolus, and Rose Leaf, the development of or less lenient collecting of bills.

the new musical genus, the classic rag, becomes The rags that Scott Joplin now wrote are clearly

clearly evident. Here is an American composer pages of an autobiography without words. Few
cultivating and developing an American music passages of his earlier works contain such tenderly

not in the doff-the-hat-to-Europe way of many intimate revelations as those in Wall Street Rag
American composers of his day, but in terms of — especially the trio —or the ardor of his Mexi-

the scope and needs of the material itself and — can tango-serenade Solace. Lottie Stokes, after
with justice to its dual origins: Black Africa, all his losses, must have been solace and more.
White America. As cultural anthropologist von At least, this is what the music seems to say, and
Hornbostel long ago observed, ragtime is a new of all possible explanations it might best explain
music in cultural history.
^'^
the unleashing of creative powers that came with
Scott Joplin was a slow, painstaking composer. with marriage.
The long list of his 1907 publications is remark- Joplin was a natural teacher, too. A fruit of

able in view of the busy public life he was leading. his teaching activity is his ragtime instruction
Determining upon more varied activity, and feel- manual. The School of Ragtime, which he himself
ing that his classic ragtime needed his personal published in 1908. It contains six piano exercises
missionary work, he embarked upon a series of and was modestly priced at fifty cents a copy. It

vaudeville tours, carrying on his composition in was not the first instruction book in piano syn-
boarding houses and hotels en route. He toured copation. As early as 1897 Ben Harney had issued
intermittently, billed as "King of Ragtime Com- hisRag Time Instructor. And, after Maple Leaf
posers — Author of Maple Leaf Rag." Rag became the technical frustration of thousands
of amateur pianists, teachers began opening
studios and hanging out the signs: "Learn to

LIFE IN NEW YORK play ragtime and be popular." The "come-on,"

of course, was the famous slogan: "They laughed
But the nomadic life was no longer for Scott when Idown at the piano." Many schools
sat

Joplin. Nor, indeed — for a man whose capacity

opened, and many manuals appeared. Most suc-
cessful of the new entrepreneurs was Axel Christ-

17 Erich von Hornbostel "African Negro Music" in ensen whose schools became a chain that operated
Africa vol I, no 1 (London: The African Society, n. d.) in twenty-five cities, including Honolulu.
 — I

The courses that led to the "diplomas" in rag- Son store. As a steady customer for ragtime sheet

time were a cursory "Ragtime in Ten Easy Les- music, he was allowed a cash discount. This visit,

sons" that helped to stereotype the music as a however, developed into something more momen-
frivolous popular fad. Scott Joplin's pedagogy tous. The memories were still vivid as he told

was serious in approach, as well as disdainful of about it in 1949:

the popular slogans and misconceptions. He

There was a colored fellow sitting there with his
bluntly prefaced his exercises:
foot bandaged up as if he had the gout, and a
That real ragtime of the higher class is rather crutch beside him. I hardly noticed him. I told

difficult to play is a painful truth which most Mrs. Stark that I liked the Joplin rags best and
pianists have discovered. Syncopations are no indi- wanted to get any I didn't have. The colored

cation of light or trashy music, and to shy bricks

fellow spoke up and asked whetlier I had certain
at "hateful ragtime" no longer passes for musical pieces which he named. I thanked him and bought
several and was leaving when I said to Mrs. Stark
culture.
that Joplin was one fellow I would certainly like to
Three piano rags were completed by Joplin and meet.
published in the same year as the School of Rag- "Really," said Mrs. Stark. "Well, here's your
time.These are Fig Leaf, Sugar Cane, and Pine man." I shook hands with him, needless to say. It

was a thrill I've never forgotten. I had met Scott

Apple Rag. Fig Leaf is a somewhat ambivalent
Joplin and was going home to tell the folks.
piece. The first two themes are in an earlier Joplin
Mrs. Stark told him I had sent in a couple of
style. With the trio, the harmony darkens into
rags for their approval. and they I had, all right,
richer chords, and the scene shifts from pastoral had come back two days later. Joplin seemed inter-
to theatrical. The trio is almost visually choreo- ested and asked if he could walk up the street with

graphic, and the last theme comes on like an opera me. We walked along Twenty-third Street and
into Madison Square Park and sat on a bench.
chorus singing and marching.
Mr. Joplin asked if my rags were really good. I
Sugar Cane is equally — but differently— diversi-
said, "To me they seem all right maybe they are —
fied in content: a first theme intentionally "clas- not. I don't know." He invited me to bring them
sic"; a second theme contrastingly "popular"; a over to his place. Needless to say, I didn't waste
whirling, tango-tinged trio as art nouveau and time.

seductive as the curvesome sylphs of the Mucha went to his boarding house a few evenings
I

later and he asked me to play my pieces on the

posters.
piano in the parlor. A lot of colored people were
Individuality is maintained in the Pine Apple sitting around talking. I played my Sensation first
Rag, with its narrative, almost balladic structure. and they began to crowd around and watch me.
The story begins, lively but innocent. The second When I finished, Joplin said, "That's a good rag
section begins to sway with Joplinesque between- a regular Negro rag." That's what I wanted to

the-beat phrasing; then it is the A theme back like

hear. . . . Joplin liked Sensation best of my first

three rags. (TAPR 236)

a return to innocence. Suddenly the music plunges
into an American red-light bacchanale^ —dark, At this first hearing Joplin offered to present
chromatic, fully-chorded, forte and "low down." Sensation to Stark personally. Lamb recalled that
The dance surges on into the D theme, stomping Joplin said: "We will put on along with your
above a moving, contrapuntal bass line. name: 'arranged by Scott Joplin.' People do not
Joplin had launched the careers of two com- know you and my name might help sell the rag."
posers, Marshall and Hayden; he now did the same Joplin was as good as his word. "He wanted to get
for a young white aspirant who went on to become me going," Lamb said. "A week later a letter came
one of ragtime's finest composers, black or white. from Stark offering me twenty-five dollars and an
It was late in 1907 or early the following year that equal sum after the first printing of one thousand
Joseph Francis Lamb dropped into the Stark & was sold. He could have had it for nothing —
wanted to see it published. I got the other twenty- several works of the year before, was published by
five dollars in a month. Then he bought Ethiopia Seminary Music Company.
and Excelsior together. After that he took any rag By this time John Stark was running into diffi-

I wrote" {TAPR 237). culties. His wife had become ill and had returned
The extent to which classic ragtime was pub- to St Louis to be cared for by relatives. The East-

lished — despite the flood of Tin-Pan Alley's cheap ern venture — in fact, classic ragtime itself —was
imitations — is due in great measure to Joplin's not faring well. Neither the Missouri pioneer nor
generosity and vision. James Scott and Joseph his catalogue fitted into the Tin-Pan Alley scheme
Lamb, two men he assisted, are ragtime composers of things. And Tin-Pan Alley now dominated the

of the first rank, and the work of Marshall and popular field. Stark's country-peddler shrewdness
Hayden as well as Chauvin's only published rag was somewhat hobbled by his missionary zeal for

survive mainly because of him. the music he had chosen to champion, as well as
With these men in the vanguard, a music of by a personal honesty that drew a distinct line be-
black origin became a music for all, a young tradi- tween the shrewd and the sharp. Neither ruthless-

tion with the resources to move from short piano ness nor compromise was a part of his strong na-

pieces to larger forms. Composer might follow ture. His generation had believed that trade

composer, each working with individuality while thrived on fair competition; it gave a place to the
carrying a unified tradition forward. What rag- little business man.
time needed now was to receive some modicum of Stark fought back as best he could, but he was
sanction from the "serious" music establishment. losing. A cruel price war, utilizing five-and-ten-

The first decade-and-a-half of the century was cent-store counters, was driving out the small in-

the critical time for the new art. There was con- dependent publishers and the music business was
troversy enough. The merits of the ragtime case consolidating. Soon after Sarah Ann Stark died in

were lost in the noise. Despite the praise of emi- 1910, he wrote off the Eastern venture and re-

nent composers like Debussy and Dvorak, ragtime turned to St Louis.

at home was, in the main, either pointedly ignored
or actively attacked.
But in 1909, when Scott Joplin was forty-one TREEMONISHA & THE
years old, he was hopeful and determined, in- LAST PIANO PIECES
spired and full of energy; and he can hardly have
been at all cognizant of the crumbling precarious- Joplin meanwhile continued to work on his opera.
ness, not only of his own career, but of the music He seemed to be thinking mostly in terms of
he championed, symbolized, and so passionately be- larger forms. In the seven years he had left to
lieved in. It was a year notable in his life, both for live, only five more Joplin rags would be pub-
the quantity, quality, and diversity of the work lished, two of these of seemingly earlier composi-

he wrote and saw published, and for the fact that tion.

he was fully launched on the opera, Treemonisha. With this new direction, matters of training
After years of struggle he was at last in a position and his own conceptual equipment became para-
where creative work could be foremost. mount. He clearly had become the foremost mas-
The 1909 rags include Wall Street, Country ter of the classic rag's short form. Developing this,

Club, Euphonic Sounds, and Paragon. There is he had attempted to supplement his spotty early
also a waltz. Pleasant Moments, and the Mexican training by intensive study on his own. In 1904,
serenade. Solace. Taken together without the — while still in St Louis, he had bought a copy of the
work on an opera — these six pieces would consti- new edition of Jadassohn's 1891 book: A Manual
tute a notable year. The entire year's output, like of Simple, Double, Triple and Quadruple Coun-
terpoint. That it was thoroughly used is evident Wall Street Rag, within its territory of mood, is

not only from its well-thumbed and marginally- one of the most perfectly realized of all Joplin
noted condition but also by the contrapuntal de- rags. One is misled by the title "Wall Street" and
vices that then began to enter into his music. by the descriptive headings over the themes:
The successful long form, however —whether Panic in Wall Street, Brokers feeling melan-
symphony, concerto, oratorio, or opera — notis choly"; "Good times coming"; "Good times have
only a matter for special study but one of a special come '; "Listening to the strains of genuine negio
bent of mind. Treemonisha's overture and three ragtime, brokers forget their cares." Dismiss all

acts would test Joplin's training and his natural this trumpery and whatever aberration invoked it

aptitude. in this tender piece — there is nothing here to do

Nothing in his earlier training had prepared with Mammon: never was a piece of music so

Joplin for working in extended forms. The whole mistitled. Wall Street Rag is another little ballade

world he grew up in lacked continuities and mean- in rag form, romantic and essentially aristocratic.

ingful interrelationships: the kaleidoscopic shuttle Country Club Rag is a study in alternate ideas:

of the town-to-town itinerant in raw new settle- ballet and song. The A theme is dancelike; B is a

ments, the night world of the red lights, the singing refrain. Trio is dance again, and the final

hokum vaudeville that had evolved from black- strain, song. This mixture of song and dance
face minstrelsy. He had had the will and vision elements encourages the belief that, with the ac-

to flee it all, but his formative years had been lived cess to staged performances that he never fully
there. That even such a mastery of short form achieved, Scott Joplin might have been an effective

and patient striving for perfection could have sur- composer for choreography.

vived this charivari is a miracle. Even in those days, it was chiefly on the light

No matter: in this year of his dedication to opera stage that experimental couplings of chore-
writing an opera, the six short piano pieces he ography and song could be ventured. It seems like-

published would assure him of a high place in ly that Joplin might have made a lasting contribu-

American music, were these all that Joplin had tion there, not only because of his melodic gifts

ever written. and love of the dance, but also because of his

Solace —A Mexican Serenade work in is his only fidelity to his own race and its folklore. While
tango rhythm. Originally from Cuba, by way of Bert Williams was declaring that "the colored

the African cult houses where it is said to have performer would have to get away from the rag-
"'*
been known by its African tribal name, tangana, time limitations of the 'darky,' Joplin was cre-
this rhythm had entered American piano litera- ating classic ragtime out of the rich earthy beauties

ture as early as i860 with Louis Moreau Gotts- of the black music of church and dance hall. Had
chalk's Souvenir de la Havane. The first reported foredoomed
he, perhaps, not placed his faith in a

instance of tango in the unchronicled history of opera and had chosen, instead, to work in musical
American Negro music is a rag-tango called The comedy he might have wrought early changes,
Dream, composed and played by an itinerant black bringing to the theatre folk essences that had to
player, Jess Pickett, at the Chicago World's Fair wait many years: for a Porgy and Bess, an Okla-
in 1893. A famous Afro-American tango. Will H. homa!, a Dark of the Moon, a Voodoo.
Tyer's Maori, was published in igo8 just a year The great variety of the igog rags is maintained
before the Joplin piece. Solace, however, does not by Euphonic Sounds. Modestly subtitled "A Syn-

resemble Maori; it is pure Joplin from beginning copated Two Step," Euphonic Sounds is far from
to end and a superb work. Pleasant Moments, like modest in intent or realization. Here, once and
the earlier Bethena, is a syncopated waltz, equally
pure in style but less brilliant and more tender. 18 See The Theatre (August 1906) 224 et seq.
 —

for all, Joplin shows how to free the piano rag of gies of nineteenth-century American folk dance
the perpetual "oompah" bass. There are not a frontier, minstrel, and Afro-American.
half-dozen measures of stride bass in the entire The term "stoptime" refers to tacets, that is,

piece. The swinging polyrhythms are achieved by to "stopping the time" in the accompaniment,
other figurations. whether banjos, rustic fiddle, or ragtime piano.
Euphonic Soimds moves all the way into rondo Dancer or dancers filled the tacets with the sounds
form, being thematically arranged: A-B-A-C-A of feet on the floor, similarly accenting some of the
with repeats. A difficult piece to play, it became a sounded beats. The foot sounds might be those of
noted challenge to the eastern ragtime school of sliding feet, especially on sand sprinkled on the
"shout" pianists. Lonnie Hicks of Philadelphia boards (as in the Virginia Essence). The "slow
and the "shout" master, James P. Johnson, were drag" was a variation of the "slide." Foot-stamp-
famed for their ease in performing its intricacies. ings — called "stomps" —
came in around the turn
In 1944, thirty-five years after its publication, of the century, and more or less at the same time
Johnson recorded it, playing with undaunted vir- came the virtuosities of tap-dancing.
tuosity even while — in the delightful, incorrigible It is worthy of notice that, in the midst of com-
eastern way —adding "shout" embellishments of posing an opera, Joplin could write a little whirl-
his own. A few years later, reminiscing, he said, wind scherzo like Stoptime Rag. To it he brought
"Joplin was a great forerunner. He was fifty years a special zest, and a freedom from some of the
ahead of his time. Even today, who understands strictions of the piano rag form that he himself
Enphonic Sounds} It's really modern" {TAPR had had so considerable a hand in developing.
204). Here (and here only) is found the amazing (for
Continuing the igog emphasis on variety, Para- Joplin) tempo direction: "Fast or slow," with
gon Rag has the plantation sound, its first theme music written to be adapted to any tempo — as if

almost a buck-and-wing. The second theme is in- the dancer, not he, were calling the tune and set-

teresting on two counts. First, the melody is the ting the time. Both versions of The Ragtime Dance
same as the traditional New Orleans bawdy-house include a stoptime section with the same "Stamp"
song, Bucket's Got a Hole in It — Can't Get No instructions that appear in Stoptime Rag. Stop-
Beer, but whether the song came from the rag or time Rag whirls with a scintillating gaiety that
if, much earlier, Joplin heard it while on his provides the rare moment in which the grave
youthful travels, is anybody's guess. Second, this black man, of whom John Stark observed that
strain introduces right-hand "breaks" that im- "he was never caught smiling," not only smiled
mediately became a trademark of the "player- but laughed out loud.
piano" style of roll-recording players like Pete Following Stoptime Rag no new Joplin piano
Wendling. Ragtime roll collector Michael Mont- rag would appear for a year and a half and then it

gomery also notes that these break figures were would be a collaborative piece with Hayden. The
used by Zez Confrey in his late-period 1921 rag. first two themes of Felicity Rag are almost surely

Kitten On the Keys. Plantation sounds continue by Hayden and might be from 1907 or earlier.
into Paragon's trio with its banjoesque "single- The trio seems Joplinesque and stylistically post-
string" treble over a chorded bass. 1908. Perhaps Joplin had brought along an in-
In 1910, with the composer concentrating al- complete Hayden manuscript when he moved to
most totally on Treemonisha, there were only two New York, later adding the completing trio. The
publications. One, Pine Apple Rag— Song, as pre- final Joplin-Hayden rag Kismet Rag, issued in

viously noted, was a 1908 piano rag set to words. 1913, tends to strengthen this theory. Kismet is

The other, Stoptime Rag, is a rhythmic delight also a three-theme rag although it ends with a vari-

capturing, as no other Joplin rag, the salty prodi- ant of the A theme figuration.
 Only two more Joplin rags were to be published or a James Scott, were the popular staple, anyway.
during the composer's lifetime. These are Scott Practically anyone could hum, whistle, or even

Joplin's New Rag issued by Stern in 1912, and yodel a Hello Ma Baby, but the Euphonic Sounds
Magnetic Rag published by Joplin himself in resisted such sidewalk embraces. Black-music his-

1914. Reflection Rag was brought out by Stark torian Eileen Southern contrasts the "captivating
late in 1917, eight months after Joplin's death. but rather vapid style of the ragtime song [with]
His last years were almost totally devoted to his the essence of serious rag music," and observes that
opera: its composition, its publication, orchestra- by '1910 the rag professors were either writing
tion, and trial performance, and his continual, fewer and fewer rags or were moving over into
futile attempts to get it produced. There were other areas of musical activity." The publication
rumors toward the end of his life that Joplin was of the Berlin song, she adds, "was in reality the
working on a ragtime symphony. This seems swan song of the ragtime-song period, although it

doubtful in view of his utter obsession with Tree- brought about a brief revival of interest in the
monisha, coupled with his declining health. No music."^^
trace of sketches for such a work were found Far more importantly: in May of 1911 the com-
among his musical effects in 1949-50 when Joplin's plete score of Treemonisha, refused by music pub-
widow was being interviewed in connection with lishers to whom it had been submitted, was
the writing of the history. They All Played Rag- brought out at the composer's own expense and
time. with his own imprint. This Afro-American folk
Scott Joplin's New Rag is as joyous and trium- opera is an ambitious score for eleven voices and
phant in its way as the Maple Leaf. It is the last choruses with piano accompaniment. Although it

rag in this vein that Joplin would ever complete. may not be a grand opera in the conventional
Magnetic Rag fully justifies its unusual subtitle: sense, Treemonisha, with all its libretto shortcom-

Syncopations classiques. It covers a range of moods ings, is a glorious compendium of beautiful Afro-
unusual even in Joplin's work, one that almost American music, authentic and pure. The opera
strains the capacity of the short form. Magnetic as contains twenty-seven set pieces (though several
pure music is an impressive, although sadly pre- are short transitions) and includes an overture to
mature, close to Scott Joplin's piano works. It Act One, an introductory passage to Act Two, and
hints at future directions and demonstrates rag- a prelude to Act Three. Though the story has
time's potential capability of expressing profound- continuity, the musical numbers are separate: each
er musical thought. is complete and separately titled and numbered in

Magnetic Rag was published in July 1914. To the score.

return to 1911: Scott Joplin's collaborative piece The story is a black folk fable with the intent of
with Hayden, Felicity Rag, was published by parable. The music, correspondingly, is largely
Stark. In the broader sense of the fate of ragtime more faithful to the folk idiom than the piano
as a whole, the year 1911 witnessed the resounding rags, where similar material is treated with greater
popular success of young Irving Berlin's rag-song, sophistication. For reasons of this fidelity to source
Alexander's Ragtime Band. Classic piano ragtime (which must have been a compelling motivation)
was waning as Tin-Pan Alley took over with Treemonisha (book and score alike) is both naive
pseudo-rags and rag-songs. The real rag classics, and sophisticated, innocent and philosophical,
originally championed by Stark, were supplanted trite in spots and yet gripping. It is the work of a
by more easily played and more salable items, genius, whatever its naivete.
brought out by an enlarged music industry that
had developed wider sales outlets.
19 Eileen Southern The Music of Black Americans: A
Songs, though never the forte of a Scott Joplin History (New York: W. W. Norton & Co 1971) 330.
 As to the book: if not so accomplished a writer drain on Joplin's funds. Nevertheless, without
as Joel Chandler Harris, Scott Joplin was a real, delay he set about orchestrating the work and get-
not surrogate, spokesman for his race, as Harris ting the instrumental parts written out, while at
or his semi-fictional Uncle Remus could never be. the same time attempting to get backing for a
Nothing in all the Remus animal fabulism is as production. However unrealistic, his hopes ran
eerie or strange as the surrealist scene of Joplin's high.
mountain bears waltzing in the forest.
How Treemonisha was found as a baby (under
a tree), adopted, and given an education, is told by
THE FINAL YEARS.
Joplin in his Preface to the opera. The rest of her
But Joplin was beginning to experience personal
story: how she fought the black conjurors and
difficulties. Once so even in temperament, he was
their Voodoo magic, and how she escaped their
evincing extreme changes of mood. Unaccount-
plot to kill her, became the leader of her people
ably he would sink into brief, dark depressions
(Women's Liberation papers, please copy), and
which alternated with periods when his energy
began to lead them to freedom and equality
and concentration were phenomenal. Then he
through education — all of this is the story told in
would work, almost without rest, on the opera in-
the opera itself. But it is more: its subject (then
strumentation. To help finance his activity he
and now) is Black America and its creator was
took on more pupils.
capable of outlining (with an opera as his vehicle)
In 1913, as New York Negroes migrated up-
an early program for black action.
town, the Joplins moved to Harlem, buying a
Treemonisha is truly Scott Joplin's last testa-
house West 131st Street. By that time Tree-
at 163
ment as an artist and a black American. The music
monisha had become Joplin's monomania. Even
heard during his early years of wandering, and
before it had been orchestrated and produced, he
long since taken root in his memory, now flowers
had apparently planned to publish its musical
into a true racial expression. Its rich color is here:
numbers separately. Drawing on already strained
in a corn-huskers' ring dance, in moving choral
resources he brought out revised versions of A
responses and in the uncanny blue "moaning" be-
Real Slow Drag, and the Prelude to Act ^ in 1913,
hind closed lips in the "Superstition" scene of Act
and Frolic of the Bears in 1915.
Two. Then the music may veer affectionately into
Sam Patterson, one of the younger St Louis
the timeless Americanese of barber-shop harmony,
ragtimers and a friend of the ill-starred Chauvin,
or Aunt Dinah may blow the horn in a real "quit-
was now living in New York, and he was asked to
tin' time song" as the sun sets and the laborers
help in preparing the orchestration. The follow-
come in from the fields.
ing account was based on his memories:
And, to ring down the curtain, there is the
hauntingly melodious ragtime finale, A Real Slow He and Joplin would work all day in the base-
ment apartment of the 131st Street house, Sam
Drag, with its prancing and triumphant conclu-
copying parts from the pages of the orchestral
sion.
master score as Joplin finished them. At noon
Joplin called A Guest of Honor a ragtime opera; Lottie would bring their lunch in to them.
Treemonisha, he did not. Clearly, in the later Sam describes a typical lunch: "Joplin said,
work he aimed to combine ragtime and folk mu- 'Let's knock off, I hear Lottie coming.' Just then
sic with more conventional musical expression.
the phone rang and I went to answer it. When I
came back there were fried eggs on the table and
Treemonisha aims to go beyond the rag form to
Lottie was opening a bottle of champagne some
bring ragtime (or its essence) into the musical
folks she worked for had given her. I said, 'These
mainstream. eggs are cold,' and Scott said, 'Look, Sam, if they're
Publishing the Treemonisha score was a heavy good hot, they're good cold.' " (TAPR 248-49)
 Now unable to think of anything but the opera, tokened a mind able to work only in sad, disori-

Joplin began to neglect his pupils. Some left; he ented fits and starts.

dismissed the others. Lottie was loyal. The finan- The disorganization grew; the periods of deep
cial situation worsened, then became desperate. depression lengthened as the lucid periods shrank;
Faced with emergency, she took decisive action: the physical coordination began failing, then
she prepared some rooms and took ill "transient" worsened at an accelerated speed.
guests. The house where Joplin was laboring on A player-piano roll made by Joplin is frighten-
his opera is reported to have become a house of ing evidence of the composer's rapid disintegra-
assignation. tion. Joplin's playing had not been recorded on
With the orchestration of the opera under way, rolls until the year before he died. In April 1916
Joplin redoubled his efforts to attract backers. The he played several rolls for the Connorized label.

downtown money was not interested: the concept Among these was a smooth, competent version of
of an opera by a black ragtime composer was just Maple Leaf Rag. In June, only ten months before
too much. In the hope of finding backing, he pre- his death, Joplin recorded the Maple Leaf again,
pared a well-rehearsed audition for which he this time for the Uni-record Melody player-roll
played the piano. Thus, finally, there was a single label. The change that had taken place in two
"performance" in 1915 in a hall in Harlem. months is shocking. The second version is dis-

Joplin was a perfectionist. Patterson told how organized and completely distressing to hear.
"he worked like a dog" rehearsing the cast. But he Early that fall Mrs Joplin at last was forced to
could not pre-condition his audience. It was a dis- have him committed.
astrous flop:
[He] was removed to the Manhattan State Hospital
Without scenery, costumes, lighting, or orchestral on Ward's Island in the East River along the strait
backing the drama seemed thin and unconvinc- called Hell Gate. Lottie relates that even at the

ing, little betterthan a rehearsal, and its special hospital there were moments when the composer
quality, in any event, would surely have been lost began once more feverishly jotting notes on bits of
on the typical Harlem audience that attended. . . .
paper. But the flashes were dimmer and dimmer,
sophisticated enough to reject their folk past but and at length all was dark. On April 1, 1917, Scott
not sufficiently so to relish a return to it in art. Joplin died. (TAPR 249)
{TAPR 249)
In 1950 the widow still regretted that she had
Joplin was crushed. As part of his obsession he refused the request her husband had so often
had evidently placed all his hope in this one es- made for the Maple Leaf Rag to be played at his
sentially desperate venture. He went back to work funeral.
but the spark was gone. He began compositions The Tenderloin, which had given young Scott
but did not finish them. He began orchestrating Joplin his first chance in a nearly closed society,
his rags, to what end is not known. Among his gave him his early death. The cause, as stated by
effects, as seen in 1949-50 (and lost since the death his death certificate: "Dementia Paralytica-cere-
of Mrs Joplin), were undated and incomplete bral," and the contributing cause: "Syphilis."
orchestrations of Stoptime Rag and Searchlight The abrupt and untimely cutting off of creative
Rag as well as two unfinished piano pieces, Pretty genius constitutes a tragedy which affects us all.

Pansy Rag and Recitative Rag. There was a par- It is so with Scott Joplin, who had contributed,
tially completed song conversion of Magnetic Rag. during the mere twenty years or so of his creativ-
There were incomplete songs, among them For ity, a unique legacy to American music. His de-
the Sake of All and Morning Glory, and other velopment had proceeded with a steadiness and
items, some of them incoherent, unidentifiable an inevitability which foretold fascinating new
scraps. Fragments of a fragmented life, they be- developments that were never to be realized, al-
tliough they were already apparent in many of his lowed the closing privilege of lapsing into the first

later piano works. Whatever the eventual judg- person singular: may I repeat myself? From one
ment on Treemonisha (its premiere is projected point of view, an aU-but-forgotten black-American
for early 1972), joplin's fame is secure in rag- genius is being honored. From a broader point of
time pieces tliat are ^vithout peer. H. Wiley view, a country once honored by his life and mu-
Hitchcock has described them as "elegant, varied, sic is being honored again.
often subtle, and as sharply incised as a cameo . . .

lovely and powerful, infectious and moving."^"

If the author of this introduction may be al- Hillforge Farm
July 27 1971
20 Stereo Review (April 1971) 84.

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3cott 3oplin .

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BY SCOTT JOPLIN.

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36

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42

THE EASY HVmNERS"

A RAG TIME TWO STEP.

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AUGUSTAN CLUB WALTZ
54
A BREEZE FROM ALABAMA.
MARCH AND TWO STEP.
SCOTT JOPUN.

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 EMT&
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 60
ELITE SYNCOPATIONS.
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32ESPEGTFULLY DEDICATED TO mi
114

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 a . * —
122 Respectfully dedicated to my friend Tom Turpin

The Rose-bud March.

SCOTT JOPLIN.

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BINKS WALT2 ETC.

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126 Reapectfidly dedicated to Miss Minnie Wiade.

Notice! Don't play this piece

fast. It is never right to play
LEO LA.
'rag-time"'fa«t. Author Two-step.

SCOTT JOPLIN.
Cumpober of
'Maple Leaf Rag"

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"Kinks' Waltz'Etc.
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Knitrtd at Stationers Hall London Stigland

 127

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BinksWaltz

COMPOSER OF
MAPLE LEAF RAC ft &CTHCNA

BAHNSEN MUSIC CO.

IS22 OLIVE ST.
ST. LOUIS.
132

Binks' Waltz.

SCOTT JOPLIN.
"Maple Leaf Rag'
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 135

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 . .

140

N»tict.l- D»nt flmy this piece fust,

EUGENIA.
It is Merer right to play 'Ragtime^ast,
Author. B^ SCOTT JOPLIN.
C9mf»ser of ('^"P^' ^'*/ f^"g"
^ "Cascades" etc
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146 Hespeet/uUy dedicated to Marie Antoinette Williams,

Antoinette
March and Two-Step.
SCOTT JOPLIN
Compober of "Maple Leaf Ra>;'etc.

Tempo

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I^STLOMS MO
 152

Rag -Time Dance

A Stop -Time Two Step
By SCOTT JOPLIN

Not too fast

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NOTICE : Togct the desired effect of "Stop Time," the pianist will please Stamp the heel of one foot hca\'ily upon the floor at X\i<!i

word "Stamp'.' Do not raise the toe from the floor while stamping.

Stamji Stamy ?hmj) iSttimp S/hii>j.i Stu/iiji Sfiimj) Sf<i>';l>

Riigtllnc Dance 36-4

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Ragtiirc Dance 8&-4

 r —
158

Note: Do not play this piece fast Gladiolus Rag.

It is never right to play "Ragtime 1 fast By SCOTT JOPLIN
Composer. Composer of "Maple Leaf Rag"

Slow march tempo.

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164 Bespectfullji dedicated to Misn Mildred Ponder.

THE ANONPAREIL. Rag & Two Step.

NOTICE: Do not play this piece fast.

It is never right to play "Ragtime" fast.
Ai///ior. SCOTT JOPLIN.
Composer of " Maple Leaf Rag" etc.

Slow march tempo,

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 . .

170

SUGAR CANE
NOTE- Do
fast. It is
not play this piece

never right to play

A Ragtime Two Step
Ragtime fast. Composer.

By SCOTT JOPLIN
Composer of "Maple Leaf Rag"

Slow IVIarch Ten^o_J_Lioo -^

Piano

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Copyright 1908 by Seminary Music Co 112 W. 38 th .St .New York.
ETiglish Copyright Secured All Rights Reserved.
 171

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172

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 BY- THE KING or KAG TIMf. WRITECS,

a?
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Compo^LR OP "MAPLL LLAF RAG": ^UGAl^ CANL leACV. Ek Etc.

^>-^
 . .

176

Respectfully dedicated to the Five Musical Spillers

(( }}

Pine Apple Rag

NOTE: Do not play
this piece fast. By SCOTT JOPLIN
Composer.
Composer or"Maple Lea/ Rag^'and"Sugar Cane

^ ^m
Slow March tempo. J = loo

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4 International Copyright Secured AH Rights Reserved
 177

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 179

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 .

182

WALL STREET "RAG'

NOTE Do not play
: this piece fast.
It is never right to play Ragtime fast
Composer. By SCOTT JOPLIN
Composer of "Maple Leaf Ragl' "Sugar CaneRag"
and "Pineapple Rag."

Very Slow March Time

PIANO.

^
Panic in Wall Street, Brokers feeling melancholy.

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SemiMiy Music Co.ll2W. 38th N.Y.
I
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All Rights Reserved

 183

Good times coming.

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Listening to the strains of genuine negro

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Wall Street Rag

Nt,\\ YOKtx
186

"SOLACE"
A Mexican Serenade.

By SCOTT JOPLIN
Composer o/'Mapie Leaf Rag^^

Very slow march time

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ri
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All Rights Rwerved. International Copyright Secured.

 187

#
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Solace
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Solace
Solace
192

PLEASANT MOMENTS
Ragtime Waltz

By SCOTT JOPLIN
^^
Composer of**Mapie Leaf Rag

Slow waltz time

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All Rights Reserved. International Copyright Secured.
 193

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 «y

CaUMTRy.CLUB

TheKNG
inEVRITEA

rtpuN
coMT^osER or
Maple Le\f Rag .

UGAjR Cane Rag.

Pine Apple Rag Etc
 J .

198

COUNTRY CLUB.
Ragtime Two Step

NOTE Do : not play this piece fast.

It is mvcr right to play Ragtime fast By SCOTT JOPLIN.
Composer. Composer of"Ma|jlc Leaf Rai;,"SU(;ar Cane RnjE"
aiid"Pineapplc Rag ."

Slow March Time.

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PIANO.

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All Rights Reserved. International Copyright Secured.

Our latest Seminary Illustrated Thematic Catalogue to be had at any first-

class Music Store, or will be mailed free upon receipt of a Postal Card.
Seminary Music Co. U2 W38thSt. N.Y.
V
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upon receipt of a Postal Card.
Seminary Music Co.ll2W38thSt.N.Y.
 201

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A SYNCOPATED NOVELTX

6 ,
PineApple IUg 5ucwt Crne Rag
,
204
Euphonic Sounds.
A SYNCOPATED TWO STEP.
NOTE. Do not play this piece fast. By SCOTT JOPLIN,
Composer of 'Maple Leaf Rag^' "Sugar Cane Rag,"
It is never right to play Ra^imelast. "Wall Street Rag 'ajid" Pineapple Ras'etc.
Composer.

Slow March time

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PianoJ

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J

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Copyright 1909 by Seminary Music Co.li2 W. 38th St.N.Y.

All Rights Reserved. International Copyright Secured.

Our latest Seminary Illustrated Thematic Catalogue to be had at any first-

class Music Store, or will be mailed free upon receipt of a Postal Card.
Seminary Music Co. 112 W
38th St. N. Y.
 mmt
p cresc. poco a poco

^^^^ ^^ LJ U^
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Euphonic Sounds 4
SOMETHING NEW!!!
'CUPID'S KISS" WALTZ,
By the Composer of "Kiss Of Spring" Waltz.
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206

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Seminary Music Co.ll2W38thSt.N.Y.
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Euphonic Sounds 4 SOMETHING NEW!!!

'CUPID'S KISS" WALTZ,
By the Composer of Kiss Of Spring" Waltz.
 DY THf KING OF RAG TIME WRITERS
^^^^^ JOPLIN
Corr"nP05IE-''R. OF
Rag
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Pine Apple Rag"
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5uQj=ip Cane Rag
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Wall, Street Racs ^tc cl
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 Respectfully Dedicated to the C.V.B.A.
210

PARAGON RAG
NOTE. Do not play this piece fast.
It is never right to play Ragtime fast. By SCOTT JOPLIN,
Composer of "Maple Leaf Rag," "Sugar Cane Rag,
Composer.
"Wall Street Rag" and "Pineapple Rag."

Slow March Time

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All Rights Reserved. International Copyright Secured.

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216
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by SCOTT JOPLIN.
Fast or slow. -, . (Gladionlus Rae.
Composer of | Searchlight RaL

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British Copyright secured.
Depositado conforme a la ley de Republica Mexicana,
6490-4 en el ano MCM^ por Jos.W. Stern y Cia., Propietarios Nneva York y Mexico.
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222

Scott Joplins New Rag

By SCOTT JOPLIN
Allegro moderato.

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Scott JoPLiN Music Publishing Co.
NEW VORK, N.M
228

MAGNETIC RAG
by SCOTT JOPLIN
Compo.sgrof"Maij>\e Leaf Rag"
Allegretto ma non troppo

Copyrl^t 1914 by Scott Joplin Music Pub.Co. New York City, N.Y.
 229

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REFLECTION RAd
Syncopated Musings

BY HCOTT JOPLIN
234

Reflection Rag
(SYNCOPATED MUSINGS)
SCOTT JOPLIN

Slow March Tempo.

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Copyright MCMXVII by Stark Music Co.

 235

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Collaborative Works
240

"SWIPESY
CA K E W A L K.
By SCOTT JOPLIN
and
ARTHUR MARSHAJJ.
Sloiv.

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Published by
JOHN 5TARK&50N
246

SUIT FLOWER SLOW DRAG.

HA(^ TIME TMO STEP.

By SCOTT JOPJ.IN
and
SCOTT HAY DEN.

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INTRO.

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 247
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252

"Something Doing."
A RAGTIME TWO STEP.
SCOTT JOPLIN
Intro.
SCOTT HAYDEN.
A
Not fast.

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258

a
LILY QUEEN.
A Ragtime Two-Step.
'TE; Do not play this piece fast.
>.'(
By SCOTT JOPLIN

^
It is nt vcr ripht to play"Ragtime"fast. Composers.
and ARTHUR MARSHALL.

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Copyrifht.MCMVII.by Willii Woodward

1=4 British Copyright Secured.
 259

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264

HELIOTROPE BOUQUET
.__ A Slow Drag Two Step
N.B. Do iiot play this piece
fast. It is never right to

play Ragtime fn^l .Composers. By SCOTT JOPLIN

and LOUIS CHAUVIN

Slow March Tempo.

.-S

Piano.
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NEW YORK and ST. LOUIS.

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 267

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270

FELICITY RAG.
A RAGTIME TWO STEP.
SCOTT JOPLIN
and
SCOTT HAYDEN.
Tempo di Marcia. A

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276

Kismet Rag.
By SCOTT JOPLIN
and SCOTT HAYDEN.
INTRO.
Not fast.
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Copyright 1913 by Stark Music Co.
 277

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278

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 279

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Miscellaneous Works
cheel ef Sa^time
,</',
^'f^^^W^d^'

EXERCISES
t/^ FOR <^
PIANO -.*.-

BY

Oomposerof MAPLE LEAF RfK&etc

JF^ice SO cents.

NEW YORK
Published bi/ SCOTT JOPLIN
Copyright MCM\/III, by Scott Joplln,
[ngl'iah Copyright Seeurtd.
284

SCHOOL OF
BY
RAGTIME
SCOTT JOPLIN
Composer of "Maple Leaf Rag."

REMARKS - What is scurrilously called ragtime is an invention that is here to stay. That is now conceded
by classes of musicians. That all publications masquerading under the name of ragtime are not the genxrine
all

article -wiU be better known when these exercises are studied. That real ragtime of the higher class is
rather difficult to play is a painful truth M'hich most pianists have discovered. Syncopations are no
indication of light or trashy music, and to shy bricks at"hateful ragtime"no 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.

Exercise No.l.
evident that, by giving each note its proper time and by scrupulously observing the ties,you will
It is
get the effect. So many are careless in these respects that we will specify each feature. In this num-
ber, strike the first 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 syncopated note
below to the two notes above will show exactly its duration . Play slowly luitil you catch the swing, and
never play ragtime fast at any time.

Slow march tempo (Count Tho)

m f ^tf^ M ir 1^
K=K

Exercise No. 2.
^^ ^S
This style is rather more difficult, especially for those who are careless with the left hand, and are
prone to vamp. The first note should be given the full length of three sixteenths, and no more. The sec-
ond note is struck in its proper place and the third note is not struck but is joined with the second as
though they were one note. This treatment is continued to the end of the exercise.

m m
Slow march tempo (Count Ttco)

mumnwL
p—9- ^S si
A A ^^ ^. m—0-

*^
m S ^
t PC=2
^^
English Copyright Secured. Copyright MCMVIIIby Scott Joplin.
 Exercise No. 3. 285

This style is very effective when neatly played. If you have observed the object of the dotted lines they vdll
lead you to a proper rendering of this number and you will find it interesting-.

Slow march tempo (Count Two)

^
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Exercise No.4.
The fourth and form one tone, and also in the middle of the second measure and so to
fifth notes here
the end. You -will observe that it is a syncopation only when the tied notes are on the same degree of the
staff. Slurs indicate a le^rato movement.

Slow march tempo (Count Two)

S —
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"

ii

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^
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Exercise No.5.
The first ragtime effect here is the second note, right hand, but, instead of a tie, it is an eighth note
rather than two sixteenths with tie. In the last part of this measure, the tie is used because the tone is
carried across the bar. This is a pretty style and not as difficult as it seems on first trial.

Slow march tempo (Count Two)

286

^^
^ fe=p=^ L^=4

Exercise No. 6.
The instructions given, together with the dotted lines, will enable you to interpret this variety which
has very pleasing effects. We wish to say here, that the Joplin ragtime"is destroyed by careless or im-
perfect rendering, and very often good players lose the effect entirely, by playing too fast. They are
harmonized with the supposition that each note will be played as it is written, as it takes this and
also the proper time divisions to complete the sense intended.

Slow march tempo (Count Two)

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 288
Bespectfully inscribed to Miss Nellie M. Bnttler.

SENSATION.
A Rag.
JOSEPH F. LAMB.
Jrr by Scott Japlin
Tempo di marcia.

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Copyright, 190S,by Stark Music Printing * Publishing Co.

 289

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290

Trio*

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SWAN
RAG
Attributed to

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292

SILVER SWAN RAG

Slow March Tempo
Attributed to SCOTT JOPLIN

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Appendixes

ROLLOGRAPHY OF JOPLIN WORKS

The following listwas mainly derived from the Joplin rollography compiled by Michael
Montgomery, published in Record Research (Apr-May 1959), and from the list of player
piano rolls in the Blesh/Janis book They All Played Ragtime (third edition, 1966). Infor-
mation about Silver Swan Rag was supplied by QRS Music Rolls, Inc. Unless otherwise
indicated, all piano rolls were mechanically cut. Asterisks denote rolls played by Joplin.
Ole Miss Rag by W. C. Handy is appended to the list for its interest as the only known
recording by Joplin of music by another composer.

The Cascades Magnetic Rag —4051

Connorized 430 •Connorized 0266 Melographic 0370
—854 (in medley)
Maple Leaf Rag QRS 3268
—4172 Aeolian Grand 8440 Palm Leaf Rag
—6047 American Piano Co 493 QRS X3034
QRS 30088
—4066 medley)
(in —30342
The Chrysanthemum —95101 Paragon Rag
Connorized 6076 Angelus 90080
U. S. Music 75378 (in medley)
The Entertainer Artempo 9976 (played by
Steve Williams) Peacherine Rag
Cecilian 6046
Arto 8440 Connorized 6047
Connorized 6046
QRS X3087 Capitol 95101 Pine Apple Rag (in medleys)
—30358 Connorized 148 Angelus 90193

Euphonic Sounds medleys)

— 2966 (in medley) Lyon & Healy 6067
Angelus 90193
(in
— 4028 Metrostyle 102303

Metrostyle 102302
*— 10265 Universal 77987
Kimball f6 154 (in medley) —92715
Universal 77987
Melographic 0369
—92715 Pleasant Moments
—1731
The Favorite *Connorized (number unknown)
MelO-Dee 89965
Connorized 4173 *Metro Art 202704 The Ragtime Dance
QRS X3345 Metro Style Themodist 89961 QRS X3626
Felicity Rag [with Scott Hayden] Perfection 8440 Rose Leaf Rag
Kimball B6781 QRSX3817 Connorized 1336
U. S. Music 65050B —7308 (played by J. L. Cook)
—30900 Scott Joplin's New Rag
Fig Leaf Rag
QRS 03073
— 100419 (played by Aeolian Grand (number unknown)
Max Kortlander) American Piano Co 1 1263
—30141
Starr Piano Co 8057 Angelus 90806
Gladiolus Rag Connorized 2121
Supertone 10029
American Piano Co 12623 Kimball c 6132
*Uni-Record Melody 202705
Angelus 90002 Metro Style Themodist 99362
Universal 8440
Electra 76896 QRS 31282
—89965
Kimball C6529 Starr Piano Co (number unknown)
U.S. Music 1368
Metro Themodist 79513
—92261
Style
—61368B Universal 79527

QRS 30162
—65399F (in medley) —99365
Nonpareil (None to Equal) Searchlight Rag
Standard 76836
Universal 92265 Connorized 4401 QRS X3866
—77769D Original Rags
—30595
Kismet Rag [with Scott Hayden] Aeolian Grand 20428 Silver Swan Rag
Kimball B6793 Automusic Perforating Co 4051 National (number unknown)
U. S. Music 5819 Connorized 843 QRS 31533

297
Something Doing [with Scott Hayden] Sunflower Slow Drag The Sycamore
Connorized 4433 [with Scott Hayden] Connorized 4320
*— 10278 Aeolian Grand 8479 QRS 30395
QRS 30396 American Piano Co 1072 Wall Street Rag
Royal 3389 Connorized 844 Master Record 653
U. S. Music 6055 —4082 Weeping Willow
Stoptime Rag Universal 8479
Connorized 400
QRS 30786 —4411
The Strenuous Life SwiPESY —Cake Walk • — 10277
Connorized 4090 [with Arthur Marshall] QRS 30404
Sugar Cane Connorized 4087 OLE Miss Rag [W. C. Handy]
Connorized 442 QRS 30328 •Connorized 10304

298
DISCOGRAPHY OF y8 rpm RECORDS OF JOPLIN WORKS
The following list was compiled by David A. Jasen.
The Cascades
Wally Rose / Good Time Jazz 27 / June 1950
Ralph Sutton / Down Home 10 / Nov 1949
The Chrysanthemum
Mutt Carey's Jazz Band / Century 4008 / Nov 1947
The Easy Winners
Nap Hayes & Matthew Prater / Okeh 45314 / Feb 1928
Wally Rose / Good Time June 1950
Jazz 28 /
Roy Sturgis / (E) Melodise 1028 / June 1951
Lu Walters Verba Buena Jazz Band / West Coast 113/ Feb 1947
The Entertainer
Mutt Carey's New Yorkers / Century 4007 / Nov 1947
Player-piano Roll / Jazz Classics 534
Euphonic Sounds
James P. Johnson / Asch 551 / June 1944
Wally Rose / Good Time Jazz 51 / July 1951
Fig Leaf Rag
Player-piano Roll / Jazz Classics 533

Gladiolus Rag
Path^ Dance Orchestra / Path^ 29050
Wally Rose / Good Time Jazz 25 / June 1950
Lee Stafford / Castle 11 / Jan 1950
Heliotrope Bouquet [with Louis Chauvin]
Lee Stafford / Castle 10 / Jan 1950
Maple Leaf Rag
Danny Alvin's Kings of Dixieland / Rondo 236 / May 1950
Victor Arden & Phil Ohman / Victor 22608 / Dec 1930
Lil Armstrong / (F) Vogue 5169 / May 1953
Marvin Ash / Capitol 15435 / Dec 1949
Sidney Bechet with Claude Luter's Orchestra / (F) Vogue 5039 / Nov 1949
Graeme Bell / (A) Swaggie 4 / March 1950
Graeme Bell / (A) Parlophone A 7824 / Apr 1953
Bluebird Military Band / Bluebird 3201 / Aug 1938
Sune Borg / (Sweden) Gazell 3001 / Oct 1949
Brun Campbell / West Coast 112 / June 1945
Brun Campbell / Brun 1 / 1952
Frankie Carle k Orchestra / Victor 20-3805 C
Joe Fingers Carr & Band / Capitol 2665 / Aug 1953 M
Ken Colyer's Jazzmen / (E) Columbia DB 4783 / Nov 1961 S
*Eddie Condon Orchestra / Decca 27035 Mar 1950
Tommy Dorsey Orchestra / Victor 25496 / Oct 1936
*Hank Duncan Trio / Black & White 31 / June 1944
•Willie Eckstein / Okeh 40018 / Nov 1923
Bernard Ette & Jazz Kings / (G) Tri-Ergon 5064 / Oct 1927
*Don Ewell / Jazz Limited 101 / Feb 1949
Vera Guilaroff / Path^ 21178 / July 1926
W. G. Haenschen's Banjo Band / Personal M-61070 / 1910
Halfway House Orchestra / Columbia 476-D / Sept 1925

299
Maple Leaf Rag, continued
*Earl Hines Orchestra Decca 218 / Sept 1934
/

Art Hodes & Chicagoans/ Blue Note 505 / Mar 1944

Paul Hoffman / (G) Polydor / Sept 1927

Stig Holm / (G) Telefunken 15050
Hotcha Mundharmonika Trio / (G) Phillips P-17155 / 1953
Parke Hunter / (E) HMV
GC 6368 / Oct 1902
Scott Joplin (Player-piano Roll) / Circle 5003
ArtLund / MGM 10713
Humphrey Lytellton Jazz Band Parlophone 3346
/ (E)
Paul Mares k Friars Society Orchestra Okeh 41575 / Jan 1935
/

Fabio Mataloni /
(Italy) Parlophone TT 9580 / June 1952
G. G. McBrayer / Champion 20335 / June 1928
Clyde McCoy & Orchestra Decca 681 / July 1935
/

Deke Moffitt & his Twenty-niners / King 1340

Max Morath / Gold Camp 105
* Jelly Roll Morton / Circle 21-22
Ozzie Nelson Orchestra / Bluebird 7726 / July 1938
*New Orleans Feetwarmers / Victor 23360 / Sept 1932

New Orleans Rhythm Kings / Gennet 5104 / Mar 1923

Old Time Band / Bluebird 7816
Kid Ory's Creole Jazz Band / Crescent 8 / Nov 1945
*Vess L. Ossman / Columbia 3626 / Mar 1907 (reissued as Columbia A 228
Vess L. Ossman / Imperial 45600 / May 1907
Knocky Parker Trio / Texstar 200 / 1949
Ike Ragon Orchestra / Vocalion 03513 / Mar 1937

J. Russel Robinson / Eagle 900 /

released Sept 1947
Harry Roy Orchestra / (E) Parlophone F 1133 / Dec 1937
Harry Roy Orchestra (m) / (E) Parlophone F 1568 / Feb 1939
Elmer Schoebel's Dixieband / National 9113
Ethel Smith / Decca 27015 / May 1950

Harry Snodgrass / Brunswick 3239 / Apr 1926

Ralph Sutton / (Switzerland) Elite Special 91 14 / July 1952
John Scott Trotter Orchestra / Decca 4217
U. S. Marine Band / Victor 4911 / Oct 1906
U. S. Marine Band / Victor 16792 / Feb 1909
Fred Van Eps with Orchestra / Zonophone 5917 / released June 1912
Fred Van Eps with Piano / V-i / Mar 1952
Lu Walters Verba Buena Jazz Band / Jazz Man / Dec 1941 1

Lu Watters Verba Buena Jazz Band / West Coast 114/ Feb 1947
Teddy Weatherford / Swing 315 / June 1937
Herb Wiedoeft's Cinderella Roof Orchestra / Brunswick 2795 / Sept 1924
Bill Williams & Dixieland Band / Albert 725-1 / Dec 1949
The Vorkshire Jazz Band /
(E) Esquire 32-105 / July 1956
Original Rags
Sune Borg /
(Sweden) Gazell 3001 / Oct 1949
Jelly Roll Morton / General 4001 / Dec 1939

Player-piano Roll / Jazz Classics 534

Wally Rose & Rhythm / West Coast 112/ Feb 1947
Pine Apple Rag
Wally Rose / Good Time Jazz 27 / June 1950
Lu Watters Verba Buena Jazz Band / West Coast 1 10 / June 1946

300
Scott Joplin's New Rag
Player-piano Roll / Jazz Classics 533

Sugar Cane
Frank Plada's Serenaders / Gennet 6166 / released Aug 1927

Sunflower Slow Drag [with Scott Hayden]

Tony Parenti's Ragtimers / Circle 1029 / Nov 1947
Player-piano Roll / Circle 5005

SwiPEsy —Cake Walk (with Arthur Marshall]

Eric Brooks /
(E) Poydras 17 / 1950
The Merseysissippi Jazz Band / (E) Esquire 10-438 / Feb 1955
Tony Parenti's Ragtimers / Circle 1031 / Nov 1947
Wall Street Rag
Zonophone Orchestra / Zonophone 5603 / released Mar 1910

Weeping Willow
Player-piano Roll / Circle 5005

* Included on 331/^ rpm record They All Played the Maple Leaf Rag j Herwin 401 / 1971,
together with these additional recordings:
Eubie Blake / Private Recording / 1969

W. C. Handy & Orchestra (called Fuzzy Wuzzy Rag) / Columbia A 2421 / 1917
James Johnson / Folkways FJ 2841 (LP)
P.
Paul Lingle / Euphonic 1203 (LP)
Willie the Lion Smith / Grand Award 33-368 (LP)

301
SELECTIVE DISCOGRAPHY OF 33-1/3 rpm
RECORDS OF JOPLIN WORKS
Although his compositions have often been included on long-playing records com-
prising selections of various composers, only those records devoted entirely or
predominantly to Joplin are listed here.

The Best of Scott Joplin

Max Morath / Vanguard VSD-39/40 / 1972

The Complete Piano Works of Scon JoPLiNf

Professor John W. (Knocky) Parker / Audiophile AP 71-72
An Evening with Scott Joplin
William Bolcom, Joshua Rifkin, Mary Lou Williams, piano
Barbara Christopher, Clamma Dale, Michael Gordon, Chorus, John Motley / NYPL-SJ /
1972

Five Classic Rags (reverse side of Selections from Treemonisha, see below)
Ann Charters / Portents 3 / 1965
The Golden Age of Ragtime
Player-piano Rolls / Riverside RLP 12-1 10 / 1956

A Joplin Bouquet
Ann Charters / Portents 1

Piano Rags by Scott Joplin

Joshua Rifkin / Nonesuch H-71248B / 1970

Piano Rags by Scott Joplin, Volume ii

Joshua Rifkin / Nonesuch H-71264 / 1972
Scott Joplin— 1 9 1

Player-piano Rolls (including six played lay Joplin) / Biograph BLP-1006Q / 1971

Scott Joplin Ragtime, Volume 2

Player-piano Rolls / Biograph BLP-1008Q / 1971

Scott Joplin— Ragtime Pioneer

Player-piano Rolls (some played by Joplin) / (Holland) Ri\erside RLP 8815

Selections from Treemonisha

Carolyn Lewis, Utah State University Concert C^horale, led Puffer / Portents 3 / 1965

They All Played the Maple Leaf Rag

Fifteen previously recorded performances / Herwin 401 / 1971 {see second Appendix)

Comparison between this album and the printed scores shows a divergence in musical
t
content: considerable improvisation has been added and repeats are consistently omitted.

302
Inde X
The Index covers all works contained in both volumes. Cover titles and subtitles are
listed first in each entry. Differing caption titles and/or subtitles for the same work
follow. Where only one title is listed, cover and caption title material agree. Owners of
original copyrights (in most cases, the publishers) and full dates of registered copyrights
are next given. Where copyrights were registered by others than the publishers, the
publishers' names follow, with parentheses. A full list of the original publishers and
their locations follows the Index. Names of present copyright holders and the works they
control will be found in the sections devoted to permissions on the copyright page of
each volume. Asterisks indicate works not included in this edition (see Editor's Note,
page xi).

Roman numerals refer to the volume and arable numerals to the page numbers—for
example, 1:203 means Volume I page 203.
,

All references to II apply to the hardcover edition of The Collected Works of Scott
Joplin, Volume IT. Works for Voice, published by The New York Public Library.

Antoinette — March and Two-Step 1:145 Eugenia 1:139

Stark, Dec 12 1906 Rossiter, Feb 26 1906
(Printed copyright notice 1905) Also bears
Augustan Club Waltz 1:35
Canadian copyright notice: "Entered
The Augustan Club Waltzes — according to act of the Parliament of Canada
Stark, Mar 25 1901
in the year MCMV by Will Rossiter at the
Bethena —A Concert Waltz 1:113 department of Agriculture"
Bahnsen, Mar 6 1905
—
Euphonic Sounds A Syncopated Novelty 1:203
BiNKs' Waltz 1:131 —
Euphonic Sounds A Syncopated Two Step
Bahnsen, Aug 1 1 1905 Seminary, Oct 30 1909
A Breeze from Alabama —A Ragtime Two-Step 1:53 The Favorite — Ragtime Two Step 1:93
A Breeze from Alabama — March and Two Step The Favorite —A Ragtime Two-Step
Stark, Dec 29 1902 Perry, June 23 1904
The Cascades —A Rag 1:101 Felicity Rag 1:269
Stark, Aug 22 1904 Felicity Rag —A Ragtime Two Step
—
The Chrysanthemum An Afro-Intermezzo 1:107 [with Scott Hayden]
—
The Chrysanthemum An Afro-American Stark, July 27 191

Intermezzo *FiG Leaf Rag

Stark, Aug 22 1904 Fig Leaf Rag —A High Class Rag
Cleopha —March and Two Step 1:47 Stark, Feb 24 1908
Cleopha— March and Two-Step Frolic of the Bears (Treemonisha excerpt) 11:261
Simon, May 19 1902 Joplin, June 22 1915
Combination March 1:9 see also Treemonisha —Opera in Three Acts
Smith, Nov 16 1896 Gladiolus Rag 1:157
Country Club —Rag Time Two Step 1:197 Stern, Sept 24 1907

Seminary, Oct 30 1909 Great Crush Collision — March 1:3

The Crush Collision March 1:3 The Crush Collision March
see Great Crush Collision —March Fuller, Oct 15 1896

Fuller, Oct 15 1896 *A Guest of Honor —A Ragtime Opera

The Easy Winners—A Ragtime Two Step 1:41 Joplin, Feb 18 1903, unpublished
The Easy Winners—A Rag Time Two Step (No copy found)
Joplin, Oct 10 1901
Harmony Club Waltz 1:13
Elite Syncopations 1:59 Smith, Nov 16 1896
Stark, Dec 29 1902
Heliotrope Bouquet —A Slow Drag Two-Step 1:263
The Entertainer— A Rag Time Two Step 1:65 [with Louis Chauvin]
Stark, Dec 29 1902 Stark, Dec 23 1907

303
I Am Thinking of My Pickanniny Days 11:285 Pleasant Moments —Ragtime Waltz 1:191

I Am Thinking of My Pickaninny Days Seminary, May 11 1909

Thiebes-Stierlin,Apr 9 1902 Please Say You Will —Song and Chorus n:273
(Printed copyright notice 1901)
Words by Scott Joplin
Kismet Rag 1:275 Mantell, Feb 20 1895
[with Scott Hayden]
Prelude to Act 3 (Treemonisha excerpt) n:255
Stark, Feb 21 1913
Joplin, Dec 15 1911
Leola —Two Step 1:125 (Printed copyright notice 1911)
American, 1905 see also Treemonisha —Opera in Three Acts
(Copyright "Entered at Stationer's Hall,
The Ragtime Dance 1:151
London, England")
Rag-Time Dance —A Stop-T-ime Two Step
Lily Queen —A Ragtime Two-Step 1:257 Stark, Dec 21 1906
[with Arthur Marshall]
Woodward, Nov 8 1907 (Publisher, Stuart)
The Ragtime Dance (song) 11:291
Words by Scott Joplin
Little Black Baby 11:303 Stark, Dec 29 1902
Words by Louise Armstrong Bristol
Bristol, Oct 7 1903 (Publisher, Success)
A Real Slow Drag {Treemonisha excerpt) 11:237
Joplin, July 15 1913
Magnetic Rag 1:227
see also Treemonisha —Opera in Three Acts
Joplin, July 21 1914

Maple Leaf Rag 1:25

Reflection Rag — Syncopated Musings 1:233
Stark, Dec 41917
Stark, Sept 18 1899

Maple Leaf Rag Song — IL309

*RosE Leaf Rag —A Ragtime Two-Step
Daly, Nov 15 1907
Words by Sydney Brown
Stark, Aug 22 1904 —
Rosebud -Two-Step 1:121
(Printed copyright notice 1903) The Rose-Bud March
Stark, 1905
March Majestic L71
(No copyright
March Majestic — March and Two-Step registration recorded)

Stark, 1902 Sarah Dear n:313

(No copyright registration recorded) Words by Henry Jackson
Nonpareil (None to Equal) L163 Bahnsen, Aug 11 1905

The Nonpareil —A Rag &: Two Step School of Ragtime — 6 Exercises for Piano 1:283
Stark, 1907 Joplin, Jan 29 1908
(No copyright registration recorded)
Scott Joplin's New Rag 1:221
Original Rags 1:19
Stern, May 1 1912
[arranged by Charles N. Daniels]
Hoffman, Mar 15 1899 •Searchlight Rag —A Syncopated March and
Two Step
—
Palm Leaf Rag A Slow Drag L89
Search-Light Rag
Palm Leaf Rag
Stern, Aug 12 1907
Kremer, Nov 14 1903

Paragon Rag L209 Sensation —A Rag, by Joseph F. Lamb 1:287

[arranged by Scott Joplin]
Seminary, Oct 30 1909
Stark, Oct 8 1908
Peacherine Rag L29
Stark, Mar 18 1901 Silver Swan Rag 1:291
[attributed to Scott Joplin]
A Picture of Her Face 11:279
Music Trust of Lottie Joplin Thomas, 1971
Words by Scott Joplin
Leiter, July 3 1895 •Snoring Sampson —A Ragtime Song, by Harry
Pine Apple Rag L175 La Mertha
[arranged by Scott Joplin]
Seminary, Oct 12 1908
La Mertha, May 6 1907 (Publisher, University)
Pine Apple Rag Song — 11:325
(Noxopy found)
Words by Joe Snyder
Seminary, 1910 Solace —A Mexican Serenade 1:185

(No copyright registration recorded) Seminary, Apr 28 1909

304
 —
Something Doing Cake Walk March 1:251 ORIGINAL PUBLISHERS
—
Something Doing A Ragtime Two Step
[with Scott Hayden]
American Music Syndicate, St Louis
Reis, Feb 24 1903
T. Bahnsen Piano Mfg Co, St Louis
Stoptime Rag 1:215 (also Bahnsen Music Co, St Louis)
Stern, Jan 4 1910 Joseph M. Daly Music Co, Boston
The Strenuous Life —A Ragtime Two Step 1:77 John R. Fuller, Temple, Texas
Carl Hoffman, Kansas City
Stark, 1902
(No copyright registration recorded)
Scott Joplin Music Co, St Louis; New York
(also Scott Joplin, New York)
Sugar Cane —A Ragtime Classic Two Step 1:169
Victor Kremer, Chicago & New York
Sugar Cane— A Ragtime Two Step Leiter Bros, Syracuse
Seminary, Apr 21 1908
M. L. Mantell, Syracuse
—
Sunflower Slow Drag A Rag Time Two-Step 1:245 A. W. Perry &.- Sons Music Co, Sedalia
—
Sun Flower Slow Drag Rag Time Two Step Val A. Reis Music Co, St Louis
[with Scott Hayden] Will Rossiter, Chicago
Stark, Mar 18 1901 Seminary Music Co, New York
S. Simon, St Louis
SwiPESY— Cake Walk 1:239
[with Arthur Marshall]
Robert Smith, Temple, Texas
Stark, July 21 1900
Owen Spendthrift, St Louis
John Stark & Son, Sedalia, St Louis 8c New York
The Sycamore— A Concert Rag 1:97
(also Stark Music Co, St Louis Sc New York: Stark Music
Rossi ter, July 18 1904 Printing & Publishing Co, St Louis & New York)
Treemonisha —Opera in Three Acts 11:3 Joseph W. Stern, New York
Joplin, May 19 191 Success Music Co, Chicago
Revised excerpts: Thiebes-Stierlin Music Co, St Louis
—Frolic of the Bears 11:261 University Music Co, St Louis
Joplin, June 22 1915
— Prelude Act to 3 11:255
Joplin, Dec 15 1913
—A Real Slow Drag 11:237
Joplin, July 15 1913

Wall Street Rag 1:181

Seminary, Feb 23 1909

—
Weeping Willow Ragtime Two Step 1:83
—
Weeping Willow A Rag Time Two Step
Reis, June 6 1903

When Your Hair Is Like the Snow 11:319

Words by Owen Spendthrift
Spendthrift, May 18 1907

305
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