Ragtime Passion @ Guitar

"Modern Ragtime Guitar Solo" - You can play, if you want.

Stories behind the Video... written in a Blog style.

One of my main works these days is posting playing videos to my own channel on YouTube, with the purpose of introducing my arranges and the joy of Ragtime Guitar - especially "Classic Ragtime". On this page, you can read some storied behind the video performances, just like in a Blog style.

Old writings now put into the Personal Archives - NOT National ones. To read them Enter HERE.

My first COMPOSITION - "Ragged Spring Time (coming)"

Preface - why I tried this...

My latest and first "Ragtime Lecture Live" with Mr. Takashi Hamada was one of the objectives for me to achieve in the whole music life... so, "What comes to the next?" was what I wondered then, however, in mind just having occurred another new one; "Composing a Ragtime piece".

Honestly saying, this has been a major theme to me for more than 10 years - both as a guitarist and a transcriber of great ragtime composers, from Scott Joplin, Joseph Lamb to Bob Milne, David Thomas Roberts and so on... ;-) But it has NOT been a "child's play", as you know, especially after my long experience of having arranged lots of great compositions by seniors! Perhaps I could hardly do it without the new trial I had challenged in the beginning of this year - OWN ARRANGEMENT, which would work as if "Prelude" to enter the world of composition, now I suppose.

And here I modestly add the tiny fact of having given my word to Mr. Hamada to achieve this theme in this "spring time".

Trying to do this and that - how my mission going...

My composition might not be a kind of magic of true genius - or rather, a kind of fruits of what I've been studied for almost 37 years with my guitar ;-) I'd like to reveal here some of my musical secrets as inspiration, while I hope you would also suppose another side as perspiration to mix and complete lot of pieces into one music. Additionally for this latter work a computer software that I love to use for my arrangement has been doing a lot, especially to review the whole composition - so, here again I thank not only for all great seniors of Ragtimers but also for my tool TablEdit.

There might not be a faith or reason to be (packed into) Suite; just for my fun time to play them consecutively - or, "Serenade" may be a little bit short to be played as a single tune. Instead, in "Fantasia" I had just omitted to play usual repeats of Ragtime style, especially for your tolerance to listen till the end of 10 minutes' performance... Thank you for your Sitzfleisch!

"Fantasia"

• Title comes from that of old classic - like John Dowland.
• Whole atmosphere may be affected by the famous movie - Mary Poppins, a curious personality ;-)
• Tonality in B flat is important for me to express Ragtime mood - even if using Capo for that.
• Whole structure is influenced a great deal by that of Joseph F. Lamb.
• However, as a guitar music I often utilize Harmonics here there and everywhere.
• In the trio section may appear another curious personalty of the Japanese famous comic - a temporal favorite these days; Nodame's boscage.
• In that boscage I planted some of my own Flowers of Rock, some shown below;

"Serenade"

• An original inspiration might be Chopin, although never could be like him...
• Whole feeling is truly suspended from that of Saudade - a nostalgic feeling often used in Brazil, here shown as a kind of Bossa Nova's chordal style - however, keeping Alternating bass is a key to be Ragtime guitar.

This final rhythmic pattern represents my tribute to Scott Joplin; while being very simple, not so easy to play with fingerpicking... ;-)

By the way, I often imagine that Ragtime might be a musical style, not only to be listened but also to be played by yourself, even though you have not the piano but the guitar... so, I modestly present a complete Tab sheet of this musical sketch into a "FREE sample" zip-file below... ;-)

"American Polonaise"

• Also this inspiration comes from Chopin, especially "Heroic" - here again never could be like that...
• So, while suspended from some spacious image of such "Grand Polonaise", I settled a whole chordal structure into a simple style of 3 major chords often used in the guitar music, except for the mid part of the 1st section;

At the end of mid part you may hear a kind of strange minor sound like an asian taste... honestly saying, I had imagined the atmosphere of introduction of "A Real Slow Drag" in "Treemonisha" just on composing.

And the 2nd middle section is, as you know, inspired by; 1) the mid part of Chopin's "Heroic", 2) a typical bass riff of "Boogie Woogie" piano style - so that is a reason of the title named "American" Polonaise... ;-)

Please try to play some excerpts - if you are a "guitarist"...

As wrote before, I often wonder Ragtime would be the music not only to be listened but also to be played... So here I present a packed Zip-file of "Sample Tab sheet" for your trial, especially included a full version of "Serenade", which is rather easier to play than others.

Download a zip file (270KB), clicking a PDF icon and... Have a nice picking!

To get a completed Tab sheets of Suite, read Tabs Available, and CONTACT me... ;-)

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My first own arrangement - "Beautiful Dreamer with Ragged style"

Preface - why I tried this...

Thanks to Mr. Hamada - one of the best Ragtime Guitar players around the world, I will join his concert in Nagoya with honor, as a guest guitarist, on 16th of March in 2012.

Being as a Ragtimer, now I have a plan to do my task in a kind of "Lecture Concert" style for introducing the audience to the whole world of Ragtime - not only musical performance but also some lecture about its history, musical style, famous composer, and so on.., what is my longing!

On making a presentation program for that, I wondered how I could introduce the major character of Ragtime - Syncopation - in what way to the audience. While remembering my past performance in which I had played this song with NO SYNCOPATION in melody - "Beautiful Dreamer" by Stepen C. Foster - introducing its difference between ragged rhythm style in word, an new idea occured me this time; if this song could be played with syncopations in Ragtime style, is it much easier to understand the difference, besides to enjoy the real taste of Ragtime itself? So I tried with some curious wonder that the ancient Ragtimers in old time might have been playing their ragged music in this way... ;-)

As a FAITHFUL RAGTIMER - how I tried this...

I suppose it will be better to show this sheet at first... because this is what I'd like to show by arranging and playing this song ;-)

While the great composer Foster picked up the Afro American's melodies and/or melancholy to his composing with some sympathy, he might have left the rhythmic taste behind, which would seem to him being belonged to another world far away from his classical and well-behaved manner, I suppose. So, now instead of him I picked them up again and added to the melody, paying much tribute to another great American composer - of course, Scott Joplin - by thinking and taking his characteristic manner of composing. So, I hope such concept of mine will be shown in the comment on the sheet.

Lastly adding is that I had been trying to incorporate all what I was and am learning from Joplin - here especially from "Maple Leaf Rag", which I've been playing for almost 10 years, and where still learning something new... ;-)

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Memory to the Modern Rag & Basaball player - "Roberto Clemente"

Preface - how I found this trial could be done.

Honestly, I've not been quite familiar with the whole music of David Thomas Roberts - the composer of this beautiful rag tune - as Takashi HAMADA do, who must be the very innovator about him, his music and the arrangement of his rags on the guitar. Besides, while another ragtime friend around me - Mr. Muromachi, whom seems to me like a "Young Sherlock Holmes about Ragtime", had often recommended and asked if I would arrange his compositions, I modestly hesitated that they might be sounded as "impossible" with my talent and manners... however, to arrange his music would be one of my dreams both as a guitarist and ragtimer ;-)

One day a new friend, who asked me about my tab-music to get, sent a sample of copy of his most favorite tune - this "Roberto Clemente", to ask if I could arrange it SOMEDAY... While at first thinking almost impossiible, on being checked again in manner of my arrangement I found it could be... moreover with some possibility to add another beauty inherent to the guitar itself. Then soon I started, not only to arrange it but also to order its music folio formally to David himself... ;-)

Arrangement

[Note] Figures of music score here are limited to use for your easy-to-understand. Sorry for my poor ability in English - too difficult to express in Non-native language what I'd been thinking over ...

Basically, this rag could be defined as "Polyphonic rag" - you can see how the voices are running effected each other with perfect harmony; however, whose harmony often passing into a very short dissonant blink due to a ragged rhythm, that is "Syncopation" - I sometimes wonder if this modern discordance, between Classic and Jazz, could be one of spells of Ragtime music...
Anyway, here you can see how the inner voice moves being stayed in line of the top melody [A], what next turns into a modesty sympathizer [A'] making a descending line, whose last B note is played by the melody instead of inner voice at last.

Of course the importance of bass part in the left hand cannot be missed - it starts simply like the standard rag of Joplin [B], however, soon it comes again repeated in the half rhythmic pattern [B'], what also completely harmonized with the melodic part in the right hand... ;-)

If all these made in some other musical key, I would have given up arranging this rag, but quite fortunately in D key there be - what is often used and familiar on the guitar, especially more effective with "Low D tuning" used; changing the tuning may be one of the very advances of this musical instrument, I suppose. While easily decided to drop the 6th string into D note, I had to give my faith of arranging theory to realize all that shown in this beautiful music itself with enough care and dignity as much as possible... so you could see some of examples below.

Easy to see that I have replaced most important parts into the arrangement while some changes and omissions need. All what I've done in this arrangement are almost as same as what I'd already shown in another chapter of this website... so, now in this case I'd like to comment modestly some of my another thoughts about the guitar music.., or else "a characteristic beauty on the guitar".

The very typical example is showed at the very start of this tune [D]... usually this each note of melody is played as a single note, however, I treat both two notes not only as a "quick harmony" but also a "quick dissonant", daring to put each note separated on two strings, 2nd and 3rd, to make a chord. I wonder that while this harmony could be done easier technically on the piano, but not so done musically - I suppose the whole notes could sound a little bit much more dirty on the piano. On the other hand these 2 or 3 notes are played here as a kind of "arpeggio", what could make a wondrous atmosphere with a quick modest disharmony, I feel.
The reason why I do this might be a feeling that I'd like to start this beautiful rag with some small speciality on the guitar even if it has NO introduction, in other words, I'd like to treat this part as a kind of "catchy introduction". Additionally it could be done with my small wish that I'd like to prove a characteristic beauty of the guitar; an instrument makes notes kept modestly long and decayed - hope my play could sound like so on the video... ;-) In the next paragraph I could show another example to share this anatomy.

Which is true... ?! While the first one is equal to the original, how could we treat the rest - should we regard as "Not a few differences" "caprice by player and/or by composer" "variations in estudio" "output/proof of the discretion in composing"... As an arranger of the CLASSIC ragtime guitarist in MODERN times, I'd like to act myself in the manner of LAST expertise... EVEN THOUGH I cannot always treat such a concept faithfully both on arranging and/or playing, besides quite feel that it is important and joyful for music to play on Ad-lib with variations, paying enough attention and tribute to the original work.
Additionally saying this concept might be cultivated in my work of arranging Joplin's ragtime. To exam how he did WRITE the music for himself in the music sheet may be one big interest... and what we suppose could be included more or less in "School of Ragtime" - an outlandish work by Joplin, what would still be a kind of enigma...
Fortunately being in the same era, we can ask about this modesty interest to the composer himself - I'd like to excerpt his words on my Facebook with his permission;

Yes, tiny variations are a significant part of my approach to writing rags and other essentially non-developmental, strophic pieces. Chopin set the stage for this practice, especially with his handling of the waltzes and mazurkas; but it has always seemed to me a naturally enriching part of composing.

Fortunately again here I can replace this first form in the original sheet into the complete re-emergence on my Tab-sheet, thanks to the lots of help with the both open strings of 2nd and 3rd [in the green pat of E; fig. 1-b]. However, a purist may point out that "So you must keep the exact gate time of note on the upbeat as 8th note, NOT IN 4TH GATE TIME [as the pink arrow of E; fig. 1-b]" To tell the truth I may be a "cherry-picker" - sometime yes but other-time no; actually in this case, if the whole sounds are comfortable to be heard, I let some notes keep ringing along - what might be rather more comfortable than any other strong sounded instruments THANKS TO the modesty and decayed sound unique to the guitar - as I've written above... ;-)

After the long analysis above, here show some of my own tastes... "Harmonics", which I love ;-) While the original notes which are impressive as the bridge to the 2nd section, are played as harmonics for impressive effect, another harmonics on the bass could be used as a kind of "fiddled bass note" in my words - that is, while this bass note sounds much higher than those melodic notes musically, it could give some impression much lower by using lower string... besides it could sound long enough without any finger to keep on - economic!? On the other hand several bass notes are intended to changed into a kind of "walking bass line" as if stepping up with some fun... ;-)

Not a few guitarists would imagine this part sounds as if the famous guitar tune by John Renbourn - "The Hermit" - link to a short sample of MP3 on Amazon - ... Yes, I love it and of course under his effect... ;-)

Here again thanks to some help and luck most tones in melody are possible to replace on harmonics, while I've just preferred a lower tone, marked in the blue box, for easiness to play... on the contrary, I proactively apply a kind of discordancy by some decayed vibrancies on the strings with arpeggio in the red box above.

May this represented another mission in my whole guitar arranging-life - to use "Bending". Here used this technique not only for eliminating a difficulty of fingering on the very high position but also for radiating a feel of "nostalgia" or "saudade (in Brasil)"... I'm so happy if you could feel so! Again the harmonics is served well for the support of tone duration.

The origin of this mission is AGAIN in the brilliant play of John Renbourn - "Goat Island" - link to THE VERY SAMPLE of MP3 on Amazon; ACCIDENTALLY you can hear the very point just before the sample is decayed!! Since I first heard this play at age 16, it's been in my mind all along for my re-play someday... ;-)

Another tribute in color - for Roberto and his team.

As knowing this rag is a tribute for the great American baseball player, I also wanted to express my own tribute in my own way... that is "clothing" on the video, as I do often.

Honestly saying, at first I'd thought to wear the cap of his team "Pittsburgh Pirates". At last I gave it up because of mismatch toward other clothes in my usual classic style, however, I had choice of the coloring of the team, that is "Black and Gold", which could fit my taste in a vintage cloth style with adding some cool but luxurious feeling...
For the golden item, I selected a tie of "Charvet" - a historical and luxurious shirt and tie maker in Paris, what I got at very low price in an Outlet of "United Arrows". The small pin badge on the tie in this photo is of the certification of ISTO, another tribute for my poor talent...

Well... at last of this article I'd like to send lots of thank to; David Thomas Roberts, Takashi Hamada, Muromach & Uchida and all who watched my video and read this long writing!!

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Under the affection to Ragtime -　"The Sheriff by ELP"

Preface... with some excuse

Truly saying, this song may not be "Ragtime" completely, while including a very fantastic piano ending in Ragtime style. I believe, however, unless one of the composers - Keith Emerson, who is well known as "ELP", were "aficionado" to the old American music - often played "Maple Leaf Rag", never be born this excited "Rock" song... ;-)
So, here I'd like to try to express my affection to both of these music, especially through my play and arrangement in which I had paid much respect and care for the original piano play.

Arrangement

[Note] Figures of music score here are limited to use for your easy-to-understand.

[fig. 1-a]
Introduction
(original)

Played with some overdubbed by the organs and piano, here shows a single score because there may be less differences among them. On the other hand there may be some of differences between this and my tab-sheet below, because I had used another band score to arrange, which was included in old "Keyboard Magazine" in Japan.

[fig. 1-b]
Introduction
(arranged)

Easy to see that I have replaced the melody higher in one octave, not only for the easy playability but also the better impression to be heard. While I added some finger techs for expressing some lighter touches of the keyboard's notes, I dared not handle the melody too tight nor cut with staccato nor hand's mute, because I should play and let the music flow ONLY for myself without any help of other players... like Lake and Palmer!!

[fig. 2-a]
Solo part
(original)

[fig. 2-b]
Solo part
(arranged)

Always feeling VERY HAPPY to play this solo... even on the guitar ;-) I suppose this wonderful part was not "played ad-lib" but "composed" in advance - just found a live recording on YouTube played as same as the original solo. While paying my tribute to Keith, I had changed various parts as seen here, to handle the notes for a kind of "player-ship" much better on the guitar. Besides, I added some inherent techs on the guitar, like Harmonics, Glissando, Vibrate... except for Bending - now I just think it may be possible somewhere to use!

As something special for readers, a short excerpt is AVAILABLE HERE... Enjoy it to play!
* Free-Download with the right icon (PDF 100KB); Copyright of arrangement is reserved.

Performance, as One Man Band

One new challenge is "Singing with playing", and recording both videos and sounds... with Dancing actions?! Being one of my favorites among ELP's song for over 30 years(!), I had been vague in the lyrics - so it must be hard to understand what I'd sung in English - if it were recognized so?!

The electric guitar I used is the very first one I've got - almost for 30 years I've shared, what my father had presented me rewarding my long play with a poor guitar like toy! This gear was made by "Tokai" - Japanese maker, popular among amateur musicians at that time, because of lower cost - this was about 600$, however, the sound is good enough for me as you've heard.
Being jean-wearing for another tribute expressed, I dared not to wear directly on the naked skin as Keith did; on this T-shirt printed the score of Mozart, hard to see unfortunately.

Well... hope you enjoy all of them, even if having not been well performed ;-)

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The Modern Ragtime -　"Peck Peck Song" & "Mimi"

Preface... with regards

My latest videos may be seemed as examples of Ragtime tune, being composed even in modern times. Because of some unique taste of both composers, however, you would NOT regard them as Ragtime, while I'd like to think that they could not be heard as they are UNLESS Ragtime were born in the world... ;-)

Anyway, I'd like to say here "Thank you very much, and hope to see you someday (again)" - besides, hope they also enjoy this writing like a kind of description... OK?

You can see the composers... on Facebook!
It's Jerry Time!
Bob Milne

"The Peck-Peck Song"

"Song by Jerry from the Emmy Award-winning Its JerryTime.com. Please visit the Its Jerry Time Youtube channel for the original soundtrack." - just from the description by himself on YouTube. Listening with the original video, you may simply think this is a kind of Cartoon song.

For its simpleness on the chordal structure, I prefer the simple standard tuning. The original tune has a vocal line, so I'd like to play just like singing, while it has a Piano Solo in mid-section.

One of the interesting tastes may be appeared here in changing into the minor key, however the original solo is ended with a simple musical break, that would be seemed for me rather difficult on the solo-guitar to express its change of melodies between of the instrument and of vocal.

So I added my own taste, as a kind of "Bridge" as you see in the left figure - with the sequence of diminished chords ended with a popular rhythmic pattern... Hope this could be well going, for expressing the typical atmosphere of Ragtime ;-)

"Mimi"

Very impressive the flow of the melody is... ; I prefer one special tuning, a kind of OPEN C, to play this part flowing. I feel and find some melancholic feeling at the A flat note appeared here, just like that in the 2nd part of "The Entertainer", what might be one typical character of "Classic Ragtime" - I suppose ;-)

In this 3rd section it appears "Boogie-Woogie" feeling, especially in the lower notes stepping chromatically with some little breaks and syncopations. Also I love to play this contrast between the high (red) and low (blue)! However, lower melodies are generally difficult to play on the guitar - so I add some top notes for expressing the chordal mode. Besides I use the capo to let the sound heard a little bit more higher despite of using the original key "C" for arranging.

Clothes

A jacket of cotton material by United Arrows Green Label, one famous speciality store and merchant in Japan. You can find some details of "British style" in specs. Well... I feel rather difficult to translate the rest writing in Japanese page, for those who live out of a kind of modal totalism in Japanese suit style?!

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