Composer of the “Maple Leaf Rag.” (sheet music download)
Table of Contents
SCHULE DER RAGTIME NACH SCOTT JOPLIN
Komponist des ‘Maple Leaf Rag’.
BEMERKUNGEN – Was skurril Ragtime genannt wird, ist eine Erfindung, die gekommen ist, um zu bleiben. Das wird jetzt von allen Klassen von Musikern eingeräumt. Dass alle Veröffentlichungen, die sich unter dem Namen Ragtime tarnen, nicht die echten Artikel sind, wird besser bekannt, wenn diese Übungen studiert werden.
Der echte Ragtime der höheren Klasse ist ziemlich schwierig zu spielen, ist eine schmerzhafte Wahrheit, die die meisten Pianisten festgestellt haben.
Synkopen sind kein Zeichen für leichte oder trashige Musik, und vor hasserfüllten Ragtimes zu scheuen, gilt nicht mehr als Musikkultur. Ziel dieser Arbeit ist es, Amateurspielern dabei zu helfen, den „Joplin Rags“ jene seltsame und berauschende Wirkung zu verleihen, die der Komponist beabsichtigt hat.
Übung Nr. 1
Es ist offensichtlich, dass Sie den Effekt erzielen, indem Sie jeder Note die richtige Zeit geben und die Haltebögen genau beobachten. So viele sind in dieser Hinsicht nachlässig, dass wir jedes Merkmal spezifizieren werden. Schlagen Sie in dieser Nummer die erste Note an und halten Sie sie während der Zeit, die zur zweiten Note gehört.
Das obere System ist nicht synkopiert und darf nicht gespielt werden. Die senkrechten gepunkteten Linien, die von der synkopierten Note unten zu den beiden Noten darüber verlaufen, zeigen genau ihre Dauer an. Spielen Sie langsam, bis Sie den Schwung erwischen, und spielen Sie niemals schnell Ragtime.
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Übung Nr. 2
Dieser Stil ist etwas schwieriger, besonders für diejenigen, die mit der linken Hand nachlässig sind und zu Vampir neigen. Die erste Note sollte die volle Länge von drei Sechzehnteln haben und nicht mehr.
Die zweite Note wird an der richtigen Stelle angeschlagen, und die dritte Note wird nicht angeschlagen, sondern mit der zweiten verbunden, als ob sie eine Note wären. Diese Behandlung wird bis zum Ende der Übung fortgesetzt.
Übung Nr. 3
Dieser Stil ist sehr effektiv, wenn er ordentlich gespielt wird. Wenn Sie das Objekt der gepunkteten Linien beobachtet haben, werden sie Sie zu einer richtigen Wiedergabe dieser Zahl führen, und Sie werden es interessant finden.
Übung Nr. 4
Die vierte und fünfte Note bilden hier einen Ton, und auch in der Mitte des zweiten Taktes und so bis zum Ende. Sie werden feststellen, dass es sich nur dann um eine Synkopierung handelt, wenn sich die gebundenen Noten auf der gleichen Notenhöhe befinden. Bindebögen weisen auf eine Legato-Bewegung hin.
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Übung Nr. 5
Der erste Ragtime-Effekt ist hier die zweite Note, rechte Hand, aber anstelle eines Haltebogens ist es eine Achtelnote: eher als zwei Sechzehntel mit Haltebogen. Im letzten Teil dieses Taktes kommt der Haltebogen zum Einsatz, da der Ton über den Takt getragen wird. Dies ist ein hübscher Stil und nicht so schwierig, wie es beim ersten Versuch scheint.
Übung Nr. 6
Die gegebenen Anweisungen zusammen mit den gepunkteten Linien ermöglichen es Ihnen, diese Sorte zu interpretieren, die sehr angenehme Wirkungen hat. Wir möchten hier sagen, dass der ‘Joplin-Ragtime’ durch nachlässiges oder unvollkommenes Rendering zerstört wird und sehr oft gute Spieler die Wirkung vollständig verlieren, indem sie zu schnell spielen.
Sie sind mit der Annahme harmonisiert, dass jede Note so gespielt wird, wie sie geschrieben ist, da dies und auch die richtigen Zeiteinteilungen erforderlich sind, um den beabsichtigten Sinn zu vervollständigen.
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