(Reference). This beautifully detailed manual gives clear, step-by-step directions from raw materials to a magnificently finished mandolin through the use of simply-stated texts, photos and templates. Written by one of America's foremost authorities on acoustic instruments. Includes 19 full-sized blueprints covering each phase of construction. Also features a glossary of terms which enable the reader to more easily follow the instructions.
(Yorktown). Experience the pleasure and satisfaction of some of the finest and bounciest piano tunes with the Joy Of Ragtime ! Here are 29 classic piano rags by Scott Joplin, Joseph Lamb, Tom Turpin, and other ragtime composers. Pieces include: Black and White Rag * Cakewalk Parade * Calico Rag * The St.Louis Rag * Maple Leaf Rag * The Chrysanthemum * The Entertainer * and more.
(Ukulele). 15 of the most popular ragtime piano pieces for the ukulele are arranged by Fred Sokolow in this collection featuring music notation, tablature, and online audio demonstration tracks. Each rag has several sections, so there's a wealth of music here. Learning these rags will expand your ukulele horizons and provide hours of musical fun! Selections include: Dill Pickles (Charles Johnson) * The Entertainer (Scott Joplin) * Maple Leaf Rag (Scott Joplin) * Pegasus (James Scott) * Slippery Elm Rag (Clarence Woods) * Smoky Mokes (Abe Holzmann) * Yankee Land (Max Hoffman) * and more.
If you've heard jazz guitarists like Joe Pass play chord melody, you may think that the style requires an encyclopedic knowledge of music theory, musical super- powers, or making a deal with the devil. But fear not! This book will show youhow to create your own satisfying chord melody arrangements on the mandolin...and will do so in a practical, applicable, non stroke-inducing way
In 1974, the academy award-winning film The Sting brought back the music of Scott Joplin, a black ragtime composer who died in 1917. Led by The Entertainer, one of the most popular pieces of the mid-1970s, a revival of his music resulted in events unprecedented in American musical history. Never before had any composer's music been so acclaimed by both the popular and classical music worlds. While reaching a "Top Ten" position in the pop charts, Joplin's music was also being performed in classical recitals and setting new heights for sales of classical records. His opera Treemonisha was performed both in opera houses and on Broadway. Destined to be the definitive work on the man and his music, King of Ragtime is written by Edward A. Berlin. A renowned authority on Joplin and the author of the acclaimed and widely cited Ragtime: A Musical and Cultural History, Berlin redefines the Scott Joplin biography. Using the tools of a trained musicologist, he has uncovered a vast amount of new information about Joplin. His biography truly documents the story of the composer, replacing the myths and unsupported anecdotes of previous histories. He shows how Joplin's opera Treemonisha was a tribute to the woman he loved, a woman other biographers never even mentioned. Berlin also reveals that Joplin was an associate of Irving Berlin, and that he accused Berlin of stealing his music to compose Alexander's Ragtime Band in 1911. Berlin paints a vivid picture of the ragtime years, placing Scott Joplin's story in its historical context. The composer emerges as a representative of the first post-Civil War generation of African Americans, of the men and women who found in the world of entertainment a way out of poverty and lowly social status. King of Ragtime recreates the excitement of these pioneers, who dreamed of greatness as they sought to expand the limits society placed upon their race.
The essays in this collection reflect the range and depth of musical life in the United States during the first half of the twentieth century. Contributions consider the rise and triumph of popular forms such as jazz, swing, and blues, as well as the contributions to art music of composers such as Ives, Cage, and Copland, among others. American contributions to music technology and dissemination, and the role of these forms in extending the audience for music, is also a focus.
