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  3. Swipesy Cake Walk (Joplin, Scott)
  4. Swipesy Cakewalk (Trumpet Quartet ) by | J.W. Pepper Sheet Music

Modulation is the essential part of the art. Without it there is little music, for a piece derives its true beauty not from the large number of fixed modes which it embraces but rather from the subtle fabric of its modulation.

Scott Joplin Piano Rags: Swipesy - Ragtime #29 (Piano Tutorial)

Its key signature has three flats: B, E, and A. A popular legend says that the title was suggested by John Stillwell Stark , one of Joplin's original publishers, when "Swipesy" was first being considered for publication. Stark allegedly remarked that the boy's countenance seemed to suggest that he had just "swiped" something from a cookie jar. Marshall gave another explanation of the title's origin during a interview: he and Joplin had just delivered the music to Stark's office when two newspaper boys began quarreling outside, one swiped a newspaper from the other, and Stark, upon observing this, suggested that they name the work "Swipesy".

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John Stillwell Stark was an American publisher of ragtime music, best known for publishing and promoting the music of Scott Joplin. The copyright for this piece was registered on July 21, Joseph Francis Lamb was an American composer of ragtime music. The ragtime of Joseph Lamb ranges from standard popular fare to complex and highly engaging.

His use of long phrases was influenced by classical works he had learned from his sister and others while growing up, but his sense of structure was potentially derived from his study of Joplin's piano rags.

Swipesy : cake-walk

By the time he added some polish to his later works in the s, Lamb had mastered the classic rag genre in a way that almost no other composer was able to approach at that time, and continued to play it passably as well, as evidenced by at least two separate recordings done in his home, as well as a few recorded interviews. It was one of Joplin's early works, and became the model for ragtime compositions by subsequent composers. It is one of the most famous of all ragtime pieces.

As a result Joplin was called the "King of Ragtime". The piece gave Joplin a steady if unspectacular income for the rest of his life. Charles Leslie Johnson was an American composer of ragtime and popular music. His best selling piece, a sentimental ballad called "Sweet and Low", sold over a million copies. Experts believe that had Johnson lived and worked in New York, he would be included alongside Scott Joplin, James Scott, and Joseph Lamb as one of the greatest ragtime composers. He wrote more than the other three combined and exemplified a greater range of talent, composing waltzes, tangos, cakewalks, marches, novelty pieces, and other types of music popular at that time.

Classic rag is the style of ragtime composition pioneered by Scott Joplin and the Missouri school of ragtime composers. These compositions were first considered "classic" by Joplin's publisher, John Stark, as a way to distinguish them from what he considered the "common" rags of other publishers.

Swipesy Cakewalk

Today, any composition fitting this particular ragtime structural form is considered classic rag. It was sold first as sheet music, and in the s as piano rolls that would play on player pianos. The first recording was by blues and ragtime musicians, the Blue Boys in , played on mandolin and guitar.

It is significant for being the last rag which Joplin published in his lifetime, three years before his death in It is also unique in form and in some of the musical techniques employed in the composition. It was the first of Scott Joplin's rags to appear in print, in early , preceding his "Maple Leaf Rag" by half a year. It was James Scott's first commercial success. Prior to this composition Scott had published marches. With "Frog Legs Rag", Scott embarked upon a career as a successful and important ragtime songwriter.

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It was one of Joplin's simpler and less famous ragtime scores, written during a transitional period in his life, and one of the few pieces that Joplin cut as a piano roll in a session. It was the first Joplin work since his wife Freddie's death on September 10, of pneumonia, ten weeks after their wedding. At the time the composer had significant financial problems; the work did not sell successfully at the time of publication and was soon neglected and forgotten. It was rediscovered as a result of the Joplin revival in the s and has received acclaim from Joplin's biographers and other critics.

The piece combines two different styles of music, the classical waltz and the rag, and has been seen as demonstrating Joplin's excellence as a classical composer. The work has been described as "an enchantingly beautiful piece that is among the greatest of Ragtime Waltzes", a "masterpiece", and "Joplin's finest waltz".

It was not Joplin 's first collaboration, nor would it be his last: in this ragtime icon and Charles Daniels together produced Original Rags though Daniels ' contribution to the piece is believed to be negligible and Joplin collaborated with Scott Hayden on Felicity Rag?

Swipesy Cake Walk (Joplin, Scott)

In all these joint ventures, it is the style of Joplin that appears to be the dominant voice. Swipesy, for example, brims with that blithe, nonchalant sense one hears in so many of Joplin 's ragtime classics, like the popular The Entertainer. Not that Swipesy is a thematic cousin -- its sprightly main theme exudes a jaunty and somewhat subdued sort of Gay '90s festivity, the kind of thing that would serve well as background music to the early silent film comedies.

But it cavorts proudly, not comically in its bouncy rhythms and constantly evolving material. Its sense of effervescence never flags and its subtle-seeming flirtations from the upper register charm the ear. Lasting just over three minutes, Swipesy will generally be counted among Joplin 's many gems, even if the young Arthur Marshall did have a hand in it. AllMusic relies heavily on JavaScript.

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Swipesy Cakewalk (Trumpet Quartet ) by | J.W. Pepper Sheet Music

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