Structure : INTRO A BB A CC B

Structure : INTRO AA BB CC BB

Note:
'P i c k a n i n n y' is a dated term, originally used in a neutral or even affectionate way among slaves in the West Indies, but now perceived as insulting.
(Original cover).

Structure : INTRO AA BB A TRIO

Raymond Birch aka Charles Leslie Johnson

Structure : INTRO AA BB A C INTERLUDE C

Structure : INTRO AA BB TRIO-INTRO CC B

Scott made direct use of folk elements of pianistic ragtime. The chromatic ascent in the A-section is identical with Turpin's dramatic use of it in his 'Ragtime Nightmare'.
B-section is outstanding here both for its melody and for its variation of the B-section of 'Maple Leaf'.
The C-section has a most unusual left hand which isn't merely used as an arresting device as in 'Great Scott Rag', but as an integral part of the melody.

Composer of 'Whoa ! Nellie '

March and Two Step

Characteristic March and Two-Step

Structure : INTRO A BB A CC B

Structure : AA BB A C B CODA

One of his most lyrical, yet certainly his most advanced rag.
The A-section is masterful: After establishing the tonality of E flat, he introduces a sequence which suggests the key of E natural. The eighth measure ends on a B, which has the feeling of the lowered sixth chord, since it is followed by a return to the first 4 measures , which re-establishes E flat.
The B-strain is one of hist most beautiful, enhanced by his clever use of minors.
C extends the mood of B and is the most melodic of the three.

Structure : INTRO AA BB A TRIO-INTRO C INTERLUDE C

No less ingenious and more of a rouser than 'Temptation'.
The idea of Section-A is an unusually long series of sixteenths:

| 16-16-16-16--16-16-16-16 |16-16-16-16_4 |

B has the following pattern combined with the "three-over-four" and chromatic descents in the form of one-measure breaks:

|16-16-16-16 16-16_16-16|

C is one of the most joyous strains in ragtime, and combines syncopations from A & B.

The interlude is in minor and cleverly written to lead back into C, which also begins on minor but ends in the relative major (F).
Another popular Lodge hit.

Structure : AA BB A C[C] DD
The D-section has a treble figure that became a favorite in Stride ragtime later:
Rest -16-16-16_16-16-16-16

Structure : INTRO A BB A CC B
An excellent rag featuring the "three-over-four" device in section-A spiced with anticipatory syncopation, and an intricate B-section climaxed by a great ascending break.

Structure : INTRO A BB A CC B

One of the composer's best. A-section is in minor using the "three-over-four" syncopation.
B breaks away beautifully on the dominant of the relative major, and has longer phrases of syncopation using another pattern, the delayed entrance of the melody in the right hand.
The trio is another fascinating excursion utilizing several ragtime devices in a fresh manner.

Structure : INTRO AA BB A CC B

The San Francisco Barbara Coast version of the teen dance fad, the Turkey trot. A joyous number.

Structure : INTRO AA BB A CC B

One of the most popular rags, it is incredible that it was not originally copyrighted.
It wasn't until November 13, 1924 that Botsford had it copyrighted in a revised arrangement.
This popular rag featured the "three-over-four" device in its A-section. The C-section is from Max Hoffman's rag of 1904, 'Yankee Land'.
Later that same year Seymour used it for his trio in the 'Black Laugh'.

Structure : AA BB CC A

... and one reversed bonus encore....

A Novelty Rag

Structure : AA BB CC B

The title is descriptive of unusual melodic construction of section B, achieved partially by a suspended fourth, another feature of Ohio Valley rags after 1908.

May Frances Aufderheide, 1888 - 1972

Dusty Rag [Apr 24 - 2018]
The Thriller [Apr 25 - 2018]
Novelty Rag [Jan 27 - 2019]

In 1890 Max Hoffman, an orchestrator for the firm of Witmark and Sons, had furnished the company with what he termed "rag accompaniment" sections for choruses of various then-popular "coon" songs.
The following year Witmark would issue a Hoffman-arranged Rag Medley comprised of six such song choruses and a complete version of Ben Harney's 'Mister Johnson, turn me loose' all rendered as syncopated instrumentals designed for the amateur pianist.

1.Good old wagon [0:00]
2.Isabelle (Ford Bratton) [00:12]
3.Can't bring him back (Kollins) [00:36]
4.Come back my honey, I'se been waiting (Newcomb) [00:59]
5.My Gal is a high born Lady (Fagan) [01:23]
6.Mr. Johnson, turn me loose (Harney) [1:46]
7.All coons look alike to me (Hogan) [3:04]

Some of the silent movie music issued by Walter Jacobs are excellent original rags with frequently daring and involved harmonies. This one begins section A with a startling dissonance of augmented chords cleverly worked out over a standard dominant seventh in the bass.

Respectfully dedicated to Mr. Michael Shea.