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Blythe's "Regal Stomp" (a.k.a. "Bow To Your Papa")

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  • ragtime_fanatic
    Dear group, I have another item that may be of interest to some here. This one pertains to a piano roll and acoustic recording of James Jimmy Blythe and
    Message 1 of 7 , Apr 2, 2011

      Dear group,


      I have another item that may be of interest to some here. This one pertains to a piano roll and acoustic recording of James "Jimmy" Blythe and Charles Clark, recorded in 1931, entitled "Regal Stomp" (a.k.a. "Bow To Your Papa.")  Thanks to roll collectors/historians Erik York and Robert Perry, I got access to a MIDI scan of the roll in question. The tune has always been a favourite of mine, so I decided to do a two-piano transcription of this roll.

      Blythe & Clark had also cut this tune on a 78rpm record about a month after this recording, so when preparing my transcription, I looked to the recording for some judgment while transcribing.  The edition presented here is a direct transcription of the piano roll, edited to match what I speculate Blythe & Clark would have played in roll cutting studio. The two modifications are as such:

      -the removal of a "marimba" effect that was probably added to the roll post-recording. In actual performance, this effect would have been practically impossible to achieve

      -the transposition of the recording. The roll seems to have been transposed to F major to fit within the keyboard contraints of a coin-operated piano. The phonograph record is in Eb, and pianistically this makes more sense. This transcription is printed twice in the same PDF; once in F, once in Eb.

      Some more conjecture:

      I personally suspect that this one-piano duet was actually recorded on two pianos simultaneously. While separating the Primo and Secondo parts, it was clear to me that the pianists hands overlapped in places that would not naturally happen in a single-piano duet. Robert Perry has told me of anecdotal evidence where roll-editor J. L. Cook spoke of "feeding in" two pianos to the recording machine, apparently without too much hassle.

      In this transcription, I have written the parts onto a total of three staves: the first stave (probably played by Clark) is the complete Primo part, as its lack of complexity and range only necessitated one staff; the Secondo part (probably played by Blythe) is more wide and complex, and is written on the typical piano grand-staff.


      Here is an MP3 of my transcription.  I gave the two parts a wide stereo spread so you can hear what the individual pianists played.

      Here is the PDF of the two full scores.  If you'd like to share the score elsewhere, please let me know.

      Best regards!
      Max Keenlyside.
    • jazzpianist
      So, I gotta ask. Is there a one-piano version for two hands in our future, or will you simply be playing the entire four hand arrangement on one piano by
      Message 2 of 7 , Apr 2, 2011
        So, I gotta ask. Is there a one-piano version for two hands in our future, or will you simply be playing the entire four hand arrangement on one piano by yourself? I know you're pretty capable (heard a great performance of the piece with Swanson as well last year in Sedalia). A distillation would be pretty awesome if you want to tackle it.

        Just sayin...

        Bill E.

        --- In EliteSyncopations@yahoogroups.com, "ragtime_fanatic" <ragtime_fanatic@...> wrote:
        >
        >
        > Dear group,
        >
        >
        >
        > I have another item that may be of interest to some here. This one
        > pertains to a piano roll and acoustic recording of James "Jimmy" Blythe
        > and Charles Clark, recorded in 1931, entitled "Regal Stomp" (a.k.a. "Bow
        > To Your Papa.") Thanks to roll collectors/historians Erik York and
        > Robert Perry, I got access to a MIDI scan of the roll in question. The
        > tune has always been a favourite of mine, so I decided to do a two-piano
        > transcription of this roll.
        > Blythe & Clark had also cut this tune on a 78rpm record about a month
        > after this recording, so when preparing my transcription, I looked to
        > the recording for some judgment while transcribing. The edition
        > presented here is a direct transcription of the piano roll, edited to
        > match what I speculate Blythe & Clark would have played in roll cutting
        > studio. The two modifications are as such:
        >
        >
        > -the removal of a "marimba" effect that was probably added to the roll
        > post-recording. In actual performance, this effect would have been
        > practically impossible to achieve
        >
        > -the transposition of the recording. The roll seems to have been
        > transposed to F major to fit within the keyboard contraints of a
        > coin-operated piano. The phonograph record is in Eb, and pianistically
        > this makes more sense. This transcription is printed twice in the same
        > PDF; once in F, once in Eb.
        >
        > Some more conjecture:
        >
        > I personally suspect that this one-piano duet was actually recorded on
        > two pianos simultaneously. While separating the Primo and Secondo
        > parts, it was clear to me that the pianists hands overlapped in places
        > that would not naturally happen in a single-piano duet. Robert Perry
        > has told me of anecdotal evidence where roll-editor J. L. Cook spoke of
        > "feeding in" two pianos to the recording machine, apparently without too
        > much hassle.
        >
        > In this transcription, I have written the parts onto a total of three
        > staves: the first stave (probably played by Clark) is the complete Primo
        > part, as its lack of complexity and range only necessitated one staff;
        > the Secondo part (probably played by Blythe) is more wide and complex,
        > and is written on the typical piano grand-staff.
        >
        >
        > Here is an MP3 of my transcription.
        > <http://www.freewebs.com/ragtimeguy/Regal_Stomp_(Blythe_and_Clark).mp3>
        > I gave the two parts a wide stereo spread so you can hear what the
        > individual pianists played.
        >
        > Here is the PDF of the two full scores.
        > <http://www.freewebs.com/ragtimeguy/Regal_Stomp_(Blythe).pdf> If
        > you'd like to share the score elsewhere, please let me know.
        >
        > Best regards!
        > Max Keenlyside.
        >
      • ragtime_fanatic
        A one-piano version? That can be arranged, so to speak. ;) In addition to having played it with Adam last year (I wrote out a lead sheet for him on the plane
        Message 3 of 7 , Apr 2, 2011
          A one-piano version? That can be arranged, so to speak. ;) In addition
          to having played it with Adam last year (I wrote out a lead sheet for
          him on the plane over actually!) I do play it as a solo piece. I think
          having worked on the two-piano version will make creating a
          more-accurate solo rendition much easier. Stay tuned.

          Max.

          --- In EliteSyncopations@yahoogroups.com, "jazzpianist" <perfbill@...>
          wrote:
          >
          > So, I gotta ask. Is there a one-piano version for two hands in our
          future, or will you simply be playing the entire four hand arrangement
          on one piano by yourself? I know you're pretty capable (heard a great
          performance of the piece with Swanson as well last year in Sedalia). A
          distillation would be pretty awesome if you want to tackle it.
          >
          > Just sayin...
          >
          > Bill E.
          >
          > --- In EliteSyncopations@yahoogroups.com, "ragtime_fanatic"
          ragtime_fanatic@ wrote:
          > >
          > >
          > > Dear group,
          > >
          > >
          > >
          > > I have another item that may be of interest to some here. This one
          > > pertains to a piano roll and acoustic recording of James "Jimmy"
          Blythe
          > > and Charles Clark, recorded in 1931, entitled "Regal Stomp" (a.k.a.
          "Bow
          > > To Your Papa.") Thanks to roll collectors/historians Erik York and
          > > Robert Perry, I got access to a MIDI scan of the roll in question.
          The
          > > tune has always been a favourite of mine, so I decided to do a
          two-piano
          > > transcription of this roll.
          > > Blythe & Clark had also cut this tune on a 78rpm record about a
          month
          > > after this recording, so when preparing my transcription, I looked
          to
          > > the recording for some judgment while transcribing. The edition
          > > presented here is a direct transcription of the piano roll, edited
          to
          > > match what I speculate Blythe & Clark would have played in roll
          cutting
          > > studio. The two modifications are as such:
          > >
          > >
          > > -the removal of a "marimba" effect that was probably added to the
          roll
          > > post-recording. In actual performance, this effect would have been
          > > practically impossible to achieve
          > >
          > > -the transposition of the recording. The roll seems to have been
          > > transposed to F major to fit within the keyboard contraints of a
          > > coin-operated piano. The phonograph record is in Eb, and
          pianistically
          > > this makes more sense. This transcription is printed twice in the
          same
          > > PDF; once in F, once in Eb.
          > >
          > > Some more conjecture:
          > >
          > > I personally suspect that this one-piano duet was actually recorded
          on
          > > two pianos simultaneously. While separating the Primo and Secondo
          > > parts, it was clear to me that the pianists hands overlapped in
          places
          > > that would not naturally happen in a single-piano duet. Robert
          Perry
          > > has told me of anecdotal evidence where roll-editor J. L. Cook spoke
          of
          > > "feeding in" two pianos to the recording machine, apparently without
          too
          > > much hassle.
          > >
          > > In this transcription, I have written the parts onto a total of
          three
          > > staves: the first stave (probably played by Clark) is the complete
          Primo
          > > part, as its lack of complexity and range only necessitated one
          staff;
          > > the Secondo part (probably played by Blythe) is more wide and
          complex,
          > > and is written on the typical piano grand-staff.
          > >
          > >
          > > Here is an MP3 of my transcription.
          > >
          <http://www.freewebs.com/ragtimeguy/Regal_Stomp_(Blythe_and_Clark).mp3>
          > > I gave the two parts a wide stereo spread so you can hear what the
          > > individual pianists played.
          > >
          > > Here is the PDF of the two full scores.
          > > <http://www.freewebs.com/ragtimeguy/Regal_Stomp_(Blythe).pdf> If
          > > you'd like to share the score elsewhere, please let me know.
          > >
          > > Best regards!
          > > Max Keenlyside.
          > >
          >
        • ragtime_fanatic
          As promised, here s a very-distilled solo-piano arrangement . This arrangement is
          Message 4 of 7 , Apr 2, 2011

            As promised, here's a very-distilled solo-piano arrangement.  This arrangement is considerably shorter; because this version isn't an exact copy of the piano roll, I was able to condense much of the score with written repeat signs.  Let me know what you think!

            Best,

            Max.

            --- In EliteSyncopations@yahoogroups.com, "jazzpianist" <perfbill@...> wrote:
            >
            > So, I gotta ask. Is there a one-piano version for two hands in our future, or will you simply be playing the entire four hand arrangement on one piano by yourself? I know you're pretty capable (heard a great performance of the piece with Swanson as well last year in Sedalia). A distillation would be pretty awesome if you want to tackle it.
            >
            > Just sayin...
            >
            > Bill E.
            >
            > --- In EliteSyncopations@yahoogroups.com, "ragtime_fanatic" ragtime_fanatic@ wrote:
            > >
            > >
            > > Dear group,
            > >
            > >
            > >
            > > I have another item that may be of interest to some here. This one
            > > pertains to a piano roll and acoustic recording of James "Jimmy" Blythe
            > > and Charles Clark, recorded in 1931, entitled "Regal Stomp" (a.k.a. "Bow
            > > To Your Papa.") Thanks to roll collectors/historians Erik York and
            > > Robert Perry, I got access to a MIDI scan of the roll in question. The
            > > tune has always been a favourite of mine, so I decided to do a two-piano
            > > transcription of this roll.
            > > Blythe & Clark had also cut this tune on a 78rpm record about a month
            > > after this recording, so when preparing my transcription, I looked to
            > > the recording for some judgment while transcribing. The edition
            > > presented here is a direct transcription of the piano roll, edited to
            > > match what I speculate Blythe & Clark would have played in roll cutting
            > > studio. The two modifications are as such:
            > >
            > >
            > > -the removal of a "marimba" effect that was probably added to the roll
            > > post-recording. In actual performance, this effect would have been
            > > practically impossible to achieve
            > >
            > > -the transposition of the recording. The roll seems to have been
            > > transposed to F major to fit within the keyboard contraints of a
            > > coin-operated piano. The phonograph record is in Eb, and pianistically
            > > this makes more sense. This transcription is printed twice in the same
            > > PDF; once in F, once in Eb.
            > >
            > > Some more conjecture:
            > >
            > > I personally suspect that this one-piano duet was actually recorded on
            > > two pianos simultaneously. While separating the Primo and Secondo
            > > parts, it was clear to me that the pianists hands overlapped in places
            > > that would not naturally happen in a single-piano duet. Robert Perry
            > > has told me of anecdotal evidence where roll-editor J. L. Cook spoke of
            > > "feeding in" two pianos to the recording machine, apparently without too
            > > much hassle.
            > >
            > > In this transcription, I have written the parts onto a total of three
            > > staves: the first stave (probably played by Clark) is the complete Primo
            > > part, as its lack of complexity and range only necessitated one staff;
            > > the Secondo part (probably played by Blythe) is more wide and complex,
            > > and is written on the typical piano grand-staff.
            > >
            > >
            > > Here is an MP3 of my transcription.
            > > <http://www.freewebs.com/ragtimeguy/Regal_Stomp_(Blythe_and_Clark).mp3>
            > > I gave the two parts a wide stereo spread so you can hear what the
            > > individual pianists played.
            > >
            > > Here is the PDF of the two full scores.
            > > <http://www.freewebs.com/ragtimeguy/Regal_Stomp_(Blythe).pdf> If
            > > you'd like to share the score elsewhere, please let me know.
            > >
            > > Best regards!
            > > Max Keenlyside.
            > >
            >
          • Bryan Cather
            printed it out, taking a copy with me to the Ragtime Rendezvous tonite at Dressel s.... let ya know what happens! BryanC ... From: ragtime_fanatic
            Message 5 of 7 , Apr 3, 2011
              printed it out, taking a copy with me to the Ragtime Rendezvous tonite at Dressel's....

              let ya know what happens!

              BryanC

              --- On Sat, 4/2/11, ragtime_fanatic <ragtime_fanatic@...> wrote:

              From: ragtime_fanatic <ragtime_fanatic@...>
              Subject: [EliteSyncopations] Re: Blythe's "Regal Stomp" (a.k.a. "Bow To Your Papa")
              To: EliteSyncopations@yahoogroups.com
              Date: Saturday, April 2, 2011, 7:34 PM

               

              As promised, here's a very-distilled solo-piano arrangement.  This arrangement is considerably shorter; because this version isn't an exact copy of the piano roll, I was able to condense much of the score with written repeat signs.  Let me know what you think!

              Best,

              Max.

              --- In EliteSyncopations@yahoogroups.com, "jazzpianist" <perfbill@...> wrote:
              >
              > So, I gotta ask. Is there a one-piano version for two hands in our future, or will you simply be playing the entire four hand arrangement on one piano by yourself? I know you're pretty capable (heard a great performance of the piece with Swanson as well last year in Sedalia). A distillation would be pretty awesome if you want to tackle it.
              >
              > Just sayin...
              >
              > Bill E.
              >
              > --- In EliteSyncopations@yahoogroups.com, "ragtime_fanatic" ragtime_fanatic@ wrote:
              > >
              > >
              > > Dear group,
              > >
              > >
              > >
              > > I have another item that may be of interest to some here. This one
              > > pertains to a piano roll and acoustic recording of James "Jimmy" Blythe
              > > and Charles Clark, recorded in 1931, entitled "Regal Stomp" (a.k.a. "Bow
              > > To Your Papa.") Thanks to roll collectors/historians Erik York and
              > > Robert Perry, I got access to a MIDI scan of the roll in question. The
              > > tune has always been a favourite of mine, so I decided to do a two-piano
              > > transcription of this roll.
              > > Blythe & Clark had also cut this tune on a 78rpm record about a month
              > > after this recording, so when preparing my transcription, I looked to
              > > the recording for some judgment while transcribing. The edition
              > > presented here is a direct transcription of the piano roll, edited to
              > > match what I speculate Blythe & Clark would have played in roll cutting
              > > studio. The two modifications are as such:
              > >
              > >
              > > -the removal of a "marimba" effect that was probably added to the roll
              > > post-recording. In actual performance, this effect would have been
              > > practically impossible to achieve
              > >
              > > -the transposition of the recording. The roll seems to have been
              > > transposed to F major to fit within the keyboard contraints of a
              > > coin-operated piano. The phonograph record is in Eb, and pianistically
              > > this makes more sense. This transcription is printed twice in the same
              > > PDF; once in F, once in Eb.
              > >
              > > Some more conjecture:
              > >
              > > I personally suspect that this one-piano duet was actually recorded on
              > > two pianos simultaneously. While separating the Primo and Secondo
              > > parts, it was clear to me that the pianists hands overlapped in places
              > > that would not naturally happen in a single-piano duet. Robert Perry
              > > has told me of anecdotal evidence where roll-editor J. L. Cook spoke of
              > > "feeding in" two pianos to the recording machine, apparently without too
              > > much hassle.
              > >
              > > In this transcription, I have written the parts onto a total of three
              > > staves: the first stave (probably played by Clark) is the complete Primo
              > > part, as its lack of complexity and range only necessitated one staff;
              > > the Secondo part (probably played by Blythe) is more wide and complex,
              > > and is written on the typical piano grand-staff.
              > >
              > >
              > > Here is an MP3 of my transcription.
              > > <http://www.freewebs.com/ragtimeguy/Regal_Stomp_(Blythe_and_Clark).mp3>
              > > I gave the two parts a wide stereo spread so you can hear what the
              > > individual pianists played.
              > >
              > > Here is the PDF of the two full scores.
              > > <http://www.freewebs.com/ragtimeguy/Regal_Stomp_(Blythe).pdf> If
              > > you'd like to share the score elsewhere, please let me know.
              > >
              > > Best regards!
              > > Max Keenlyside.
              > >
              >

            • bobpinsker
              ... Hey, Max! Listen, if you actually can play those chromatically descending three-note tenth chords quarter-note-triplets with your right hand alone, at
              Message 6 of 7 , Apr 3, 2011
                --- In EliteSyncopations@yahoogroups.com, "ragtime_fanatic" <ragtime_fanatic@...> wrote:
                >
                >
                > As promised, here's a very-distilled solo-piano arrangement
                > <http://www.freewebs.com/ragtimeguy/Regal_Stomp_solo_(Blythe).pdf> .
                > This arrangement is considerably shorter; because this version isn't an
                > exact copy of the piano roll, I was able to condense much of the score
                > with written repeat signs. Let me know what you think!


                Hey, Max!
                Listen, if you actually can play those chromatically descending three-note tenth chords quarter-note-triplets with your right hand alone, at speed, I want to know - can you palm a basketball with your right hand? I am guessing that there's more money to be made playing in the NBA than playing ragtime/stride piano, unfortunately!
                Thank you for giving us all this transcription, both versions!
                Very bestest,
                Bob Pinsker
                San Diego, CA
              • bobpinsker
                ... The evidence in question comes from the Mike Montgomery/J.L. Cook interview in Vol. 5 of the Billings rollography - here is the bit being referred to:
                Message 7 of 7 , Apr 3, 2011
                  --- In EliteSyncopations@yahoogroups.com, "ragtime_fanatic" <ragtime_fanatic@...> wrote:
                  >
                  > Some more conjecture:
                  >
                  > I personally suspect that this one-piano duet was actually recorded on
                  > two pianos simultaneously. While separating the Primo and Secondo
                  > parts, it was clear to me that the pianists hands overlapped in places
                  > that would not naturally happen in a single-piano duet. Robert Perry
                  > has told me of anecdotal evidence where roll-editor J. L. Cook spoke of
                  > "feeding in" two pianos to the recording machine, apparently without too
                  > much hassle.


                  The evidence in question comes from the Mike Montgomery/J.L. Cook interview in Vol. 5 of the Billings rollography - here is the bit being referred to:

                  MONTGOMERY: Something I discovered recently which is very interesting, and that is that Waller and Johnson played two
                  duets on rolls. The first one was in 1926, "If I Could Be with You"; they're both on the roll. Johnson (I just know because of my
                  knowledge of the two styles) is playing the left-hand part and the melody, and Waller's playing the runs up here. Now how would
                  they have done this? Both sat down at the piano?
                  COOK: This was easy. They didn't do much of that, because you've got this number of keys there, see, and so one just keeps out of the other's way, and they rehearse it, so if they run into each other, they'll know how to straighten it out. It could be done, but most of the duet stuff, many duets were made. But most of them were unusable because the guys did too much. They didn't take into consideration what a jumble this thing is going to be afterwards.
                  MONTGOMERY: The other tune they did was "Crying for My Used to Be."
                  COOK: Actually we had two recording pianos hooked up to the unit, and one guy could play [each piano], even if you were playing a duet, you didn't have to get in each others' way. Because they were both there.
                  MONTGOMERY: So any notes that were identical would just cancel out.
                  COOK: That's right.
                  MONTGOMERY: This roll, it though, seems so clear that Johnson stayed on the left hand and Waller was at the right, because
                  you could almost cut the roll up the middle...
                  COOK: Yeah, Well, they worked this out between them, and they probably didn't sit together. They had these two twin pianos.
                  I bought one of them. I don't know who bought the other one. It's the one Larry Givens has now. But they were like side by side;
                  this recording room had two pianos.
                  MONTGOMERY: So they might both have played the piece, and the editor could have taken Johnson's right hand stuff out and
                  Waller's left hand stuff out. So when you put them together you have...
                  COOK: That's right. It all come out on the same master. They have the double tubing.

                  Best,
                  Bob Pinsker
                  San Diego, CA
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