#Black cat rag player piano full
It is then that the Persimmons are full ripe and the 'Possums are all fat. "A happy time for the Darkies in the South is just after the first severe frost in the Fall. This is one of his best examples, as is readily explained in the forward to the piece. Hunter's syncopated lines within lines were at once simple and complex, and even could compel the proper dynamics out of the performer. Having been among the first Southern composers to have rags published, his are noteworthy for how intricate and authentic they are, driven by his keen listening ability which enabled him to fully appreciate and convey the black music in which he was immersed as a youth.
#Black cat rag player piano skin
Since Hunter was blind from a young age, if not from birth, he also had the advantage of being blind to many aspects of racism due to skin color in the rural Tennessee environment where he was raised. It is still a staple of ragtime festivals in the 21st century, making for a fine duet as well. Tickled to Death was a popular on early records of instrumental ensembles and on piano rolls, in addition to sustaining good sales for many years in sheet music format. That in itself was not common during the time of cakewalks and early rags, but Hunter would use the elongated trio again in later pieces. While the rag itself is not all that simple to play, the catchy melodic line and harmonies make it a good candidate to stay in your head for long after you listen to, particularly the 32 bar trio. The white Hunter was able to embrace and actually participate in what was considered ethnically to be a black music form, inherently emulating the talented black musicians of Tennessee he encountered while growing up.
It became somewhat of a template for his later pieces like Possum and Taters and Just Ask Me, and a good example of folk ragtime as he heard it all around him growing up. This was Hunter's first published rag and one of the most popular pieces by the blind Tennessee composer, outlasting his tragically short life by eons. What is evident here is the young Hayden's grasp on syncopation and the notation necessary to realize it, along with the vibrant originality that would show up in his Joplin collaborations. The piece finishes with one more section followed by a coda, both in the new key. The D section is followed by an interlude that finally modulates, but unlike most rags it goes down a fourth rather than up, another oddity. The rolled tenths were not commonly stylistic for the period, and may have been Bob's idea, or inspired by one of the experts he communicated with on the piece. The trio and D section are both in the same key as the opening sections, which might have changed had Hayden reworked this rag at a later time in his life. The A section is a forecast of the one step style that would present itself in the mid to late teens by writers such as Luckey Roberts and Eubie Blake. While Bob's accompaniment varies rhythmically and harmonically at times beneath similar or identical melodies, it is still a smoothly rendered composition, albeit with some unusual qualities. Closer to a cakewalk in style and format, Pear Blossoms nonetheless shows syncopated innovation from such a young composer. It saw its first publication in the third edition of They All Played Ragtime in 1966 as part of the centerpiece of the book.
Bob then filled in the missing pieces and added some harmonic content and a coda. Another Sedalia ragtime musician, Tom Ireland, came into the manuscript and passed it on to ragtime artist Bob Darch during a visit to Sedalia around 1960. At around 16 years of age while Hayden was still in high school, and around the time he came under Scott Joplin's tutelage, he penned the complete melody line and some of the bass and harmony for his only known surviving solo composition.
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