Ragtime Music Denounced at Convention

Here's an old article on ragtime music from The Sunday Telegraph dated June 2, 1901. Notice the irony of the caption how "long haired individuals" says the music is "rot trash" and "distinctively vulgar"?  Pretty much the same reaction when Rock -n- Roll came onto the scene with The Beatles, Elvis and others. 

Read more on this article.

Making Music with a Hearing Loss: Strategies and Stories

That book is now available in Amazon. I'll be getting a free copy of it since I'm one of the several deaf/hh musicians who were interviewed for that book. My narrative can be found in the final chapter of that book.

There are many texts on music and hearing loss, but what makes this volume unique is that it does not require the reader to have any previous background in hearing science. It is written in non-technical language for the layman, and begins by explaining how the human ear hears sound. It covers the interplay between music, speech and hearing devices and discusses hearing conservation for musicians. The final chapter contains inspiring narratives from eleven deaf or hard of hearing musicians belonging to the Association of Adult Musicians with Hearing Loss. These eleven stories describe using a variety of strategies to integrate hearing loss and music making. Musicians new to hearing loss, hearing-impaired adults wanting to learn a musical instrument, audiologists, music educators, and music researchers will also find this book a valuable addition to their library collection.

I'll be waiting with great anticipation for my free copy. If you are deaf or hard of hearing and enjoy music, this will be a great book to have. If you have a hearing loss and is considering on wanting to play a musical instrument, don't let your hearing loss stop you. And if you do play a musical instrument....don't stop! Keep practicing and find other like minded people who enjoy playing music with their musical instruments.

Black and White Rag

Here's a 1908 American ragtime piece by Botsford that I'm now playing. A few misses playing it on my Kohler and Campbell piano but that was my fault for playing it at 2 AM in the morning. But ah, but no work for me today and so I have an excuse. I'll play the piece again when I'm a bit more refreshed. Meanwhile, enjoy my playing the piano as one of the very, very few deaf/hh ragtime pianist around. Expect more videos of me playing ragtime or novelty old timey pieces in the very near future.

A new piano

Well, finally got around to it. After wanting my own piano after 20 years of playing old, crappy piano, I got myself a new Kohler and Campbell studio piano (KC 118 model) which is 118 cm or 46.5 in height that come with a 12 year full warranty. The piano I picked wasn't quite the upright (at least 50 inches high) that I wanted but the price was right and the piano comes with excellent play, feel and sound quality. For any serious pianists two things are important, the sound and the feel. Not to mention the amount of money you're willing to spend that could limit the selection process.

I bought my Kohler and Campbell (KC) piano in Albuquerque at a piano store that was in business since 1995 and was having a going out of business sale. Needless to say I just drooled looking at all the new and used pianos, especially those grand pianos, when I stepped into the store recently this Sunday. But my budget was limited and so I picked a new Kohler and Campbell piano brand. The picture below is a 121 cm KC piano which is very similar in style, color and height of the KC piano I bought. Until I get it this upcoming Saturday the picture below will do for now.



At the same piano store there was one excellent grand piano I played on. It was the Estonia. Price tag? Around $26,000 at a markedly reduced price. The Estonia grand piano I played on was absolutely rich and the notes resonated so exquisitely. There were others like Yamaha, Cable and Kawai grand pianos, including baby grand down to 5' 1" in size. Some were good. Others had a heavy feel or stately. Some were light, airy. Each piano was different and had a character and flavor of it's own. Each pianist's taste is different while one may prefer a particular piano for it's feel and sound while another would pick a different one not suitable to other pianists. I can distinctly tell the differences in sound quality and feel at each piano I played at the store. Even though I have a hearing loss I can certainly tell as a person who is deaf/hh. The KC118 I picked had a very good feel to it as well as sound quality which was richer in tone and vibrance. The price tag was reduced from $5400 to just under $3000 and it came with a 12 year warranty (for new pianos only).

Praying that it doesn't snow on Saturday when I go and pick it up. It'll be an 8 hour round trip towing a rented enclosed U-haul trailer. It's about time I got a decent piano. Until I save enough for a baby grand someday, I'm one step closer to getting a piano I can only dream of. For sure, I will enjoy immensely my new piano and the beautiful and exciting sounds I'll be producing in my upcoming YouTube videos for ya'll in my continuing quest to play novelty rags, early jazz and ragtime pieces. The only deaf/hh Ragtime pianist around.

A Deaf Ragtime Pianist

Often I wonder how many deaf or hard of hearing pianists in the United States who enjoy playing the piano, especially in the arena of Ragtime. I simply refuse to believe that I am the only deaf/hh pianist who play Ragtime actively. There has to be a few people out there who enjoy playing the piano who happens to be deaf or hard of hearing and like playing Ragtime. Although if you go to Google and type in "deaf," "ragtime" and "piano" you'll see that my blogsite is mentioned first in a Google's search result. Not much help there but I'm sure someday something will pop up.

Meanwhile, I am currently looking for a better piano to replace my clunky spinet piano which currently does not have any really good sound to begin with along with the odd key and hammer movements where a key or two will get stuck from time to time. Very aggravating at that! Even though with the right Ragtime music piece my washed out white piano would exhibit that bit of clinky (or clacky in this case), out of tune sound noise that'd make Ragtime playing sound a bit more, well, "authentic." But that's pushing it if you listen to my Maple Leaf Rag rendition on YouTube. So far, Craigslist.com is the best bet and I have seen pianos for sale that looked good but the price is bit out of my range. At least I can scan the music instrument section for the El Paso, Texas area, and the Las Cruces to Roswell area in New Mexico as well.

The choices I'm looking for are studio and upright pianos. The differences?

Studio - This is the kind of piano you see in music schools and music studios. It is 45 to 48 inches in height and has a width of approxmately 58 inches. Because of its larger soundboard and longer strings, it produces good tone quality and is very durable.

Upright - This is the tallest among the vertical pianos, with a height ranging from 50 to 60 inches and an approximate width of 58 inches. This is the type of piano your great grandparents or grandparents used to play. When cared for properly, it stands the test of time and maintains its rich tone.

If the price is right and the condition of the piano is right (i.e. no missing strings, stuck keys or parts that need replacing) then I will surely get it. It's better to get the right one than not at all. Meanwhile, be sure to watch out for my upcoming videos of me playing a few pieces of Scott Joplin's. I just need to get around to video taping my pieces soon.

An update...

Still practicing my Black and White Rag. I got the technicals down pretty good. Just need to work on the transition and a couple of sticking points. Hopefully in a week or so I'll have it down good for a video piece of myself playing it.

If you have forgotten what Black and White Rag sounds like watch Marty Mincer play that piece, although I will *not* be playing that fast (yet).

Ragtime Undergoing Another Revival?

A question arises from me on the issue of what really constitute a “ragtime revival” and whether ragtime is an underground phenomenon like it did during the late 1800s before it exploded into scene in the early 1900s as a true rival with 1900 being the pivotal point in time when more pianists were doing and composing ragtime crediting many of the black rag timers who piqued their interests in this new music genre of the time.

Of course, nowadays I don’t think we have this “underground” phenomenon since there are many venues or festivals that take place every year in the United States for many new and old ragtime enthusiasts, and those who hear it for the very first time.

But at what point would the revival of ragtime constitute a true revival and not something that is perennially dormant only to come out when called? Would it be the number of ragtime sheets being composed be a good way to gauge the interest in ragtime? What about CD's? Or the rising number of newer and/or younger rag timers whether it’s the piano, a band, a guitar rag timer playing Maple Leaf Rag, or a banjo? Or would the rising number of ragtime festivals being held around the United States be a good gauge to determine the “revival” question? Perhaps a revival or a long, slow awakening is underway in the form of an electronic format via the internet such as using YouTube to watch and listen to ragtime being played? Or increasing number of blogsites and websites that revolve around Ragtime?

I posed a similar question in Yahoo’s Ragtime newsgroup “Elite Syncopations” and one remarked that there were more older people in the audience (live performance I suppose) than younger ones. That may be the perception but are many of these older people internet-savvy enough to download midi ragtime files or go to YouTube and punch in “ragtime” in the search engine and see the numerous pages of videos of people playing ragtime (mostly on pianos)? Who would that audience most likely be on the internet, the younger audience or older ones?

As for the number of ragtime festivals it has grown over the years with a few of them being around for more than 2 decades such as Sedalia’s Scott Joplin Ragtime Festival to celebrate their 28th anniversary this year. And recently we have the Rocky Mountain Ragtime Festival which held it’s last festival in 2005 (13th anniversary) and no longer but that doesn’t mean it won’t come back. Then we have the numerous more “recent” festivals that are becoming more established such as the ever so popular and growing Sutter Creek Ragtime Festival which will celebrate their 10th anniversary this summer. And then the smaller ones such as the Eau Claire Ragtime Festival celebrating their 10th anniversary and so on. How many of these festivals are there in the United States that celebrate Ragtime annually in the form of festivals or hosted in an era Main Street like atmosphere with familiar ragtime pieces being played that can be heard in the distance?

How do we know for sure that Ragtime is really on the upswing and that more people are appreciating it more with each passing year? And lastly but not least is how do we get the rest of the people’s attention or in this case the world’s attention about Ragtime, a timeless era and music that will never (hopefully so) go out of style.