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This fun piece from 1912 was made popular by Al Jolson and other performers. It’s from the ragtime era (1900-1920) and is sometimes heard at ragtime festivals.
After seeing a version of this being played on a calliope, I found the original sheet music as published by F. A. Mills in 1912, and re-typeset it with just a few minor changes to improve the MIDI playback. The baritone sax is supposed to mimic a baritone, but falls short.
One thing led to another and I discovered Whitewash Man, a 1908 ragtime piece by Jean Schwartz.
First I saw Neville Dickie performing miscellaneous pieces at the 2018 West Coast Ragtime Festival, and subsequently looked him up on YouTube, where I saw his 2009 performance of The Whitewash Man, with Hal Smith accompanying on drums. This is a truly joyful arrangement by Mr. Dickie that is in a higher register than the original with expert embellishments.
Of course I found and downloaded the sheet music, where the only version to be found was the original publication, which is rather simple and dry (although not entirely trivial to play). I played it a lot and kind of customized my rendition, but have since stopped playing it that way in favor of the Sutton version below. The plain original can be seen here on a digital player and is not too exciting:
Further research turned up Ralph Sutton’s extremely jubilant performance, which was published on an album called Carolina in the Morning in January 1949. It can be heard below, and I managed to find a high quality FLAC audio file archived from a 78 record. Amazingly there were less than 90 views of this video in the past 5 years. Let’s fix that!
I wanted to be able to play this version, and decided to try transcribing it. I used the Transcribe! software, but soon gave up. The less-than-great audio quality and the complexity of the piece made it too hard to determine which notes were being played.
Around a year later, I ran across the AnthemScore software that claims to convert audio files into sheet music, and gave it a shot. Success! Although the music output by the program is a real mess, it gave innumerable insights into what the music might be, and then working with Transcribe! I was able to interpret and write down what I think is close to what Mr. Sutton played. This took entirely too much time.
Then I spent too much time learning to play it at speed. I will try to record my (poor) rendition of this at some point.
Mr. Sutton’s tempo is an extremely fast 120 to the quarter note (duration 2:50). During the course of detailed analysis at very slow speeds, I never ran across anything that could be definitively be called a “mistake”. If there were any, they were perfectly integrated into the performance and are part of the transcription.
For the first time, I attended the 3-day West Coast Ragtime Festival (2018) in Rancho Cordova, near Sacramento, California. It was about time, as I’ve been playing ragtime since high school and thinking about the festival for several years.
I spent about 3 solid days writing Sinky O, an original ragtime piece. I hoped to perform it during one of the few “open piano” sessions at the festival, which I did, but only a couple people were present and I did a lot of messing up.
There are some rough edges in the piece. The ending is sudden and the minor section is a little limited and repetitive. I may work on it some more.
The name is a play on the term “cinquillo,” which is one of three Spanish rhythms along with the tresillo and habanera. Cinquillo denotes a particular rhythm consisting of: 8th, 16th, 8th, 16th, 8th. Jelly Roll Morton’s works were influenced by Spanish music; he added what he referred to as the “Spanish Tinge”. Some ragtimes (e.g. Solace) were written using habanera.
If you have not yet seen the original post about my Merry Go transcription for player piano, please read about it here.
The transcription was initially organized in four voices in the Lilypond source file. This made it relatively easy to direct Lilypond to write out a couple extra scores for a single-piano duet version. The two treble voices can be played by Primo, and the two bass voices by Secondo. This shows the power of Lilypond for maintaining multiple renditions from a single source file.
The duet was still not immediately playable. A few chords had too many notes and needed minor tweaks. The last 3 measures needed an alternate playable version; I think I struck a reasonable compromise by having the players alternate the fast final runs, and by reducing the 3-octave run to 2-octave. And in this version, the final chord does not contain all eight C keys on the piano!
As of this writing, the duet has not been performed by two people. I did record myself playing Secondo and then played Primo over it, but there may remain some awkward overlaps with two players on one piano.
If you’d like to print the 6-page duet in book form, I would recommend printing page 4 as simplex, pages 1 and 5 as duplex, pages 2 and 6 as duplex, and page 3 as simplex. Then you’ll be able to have Secondo on the left facing Primo on the right, for 3 pairs of pages. The page numbering is designed with this scheme in mind.
In 2013, I learned to play the Sousa/Horowitz piano transcription as best as I could. I found three sheet music transcriptions (Pellisorius Editions by Jon Skinner; Christian Jensen, 1999; Florian Wolf, 2010). Each edition differed from each other, and also differed from the available audio recordings in minor but unsatisfying ways.
I took it upon myself to create a new, highly accurate transcription of one particular performance by Horowitz: the seminal April 23, 1951 radio broadcast from Carnegie Hall. I attempted to capture as much detail as possible all aspects including notes, dynamics, pedaling, and tempi. I even tried to capture his apparent mistakes, which I have largely indicated in the music. (Of course, this being his own version, “mistakes” is a very subjective term.)
Once again, I relied on Transcribe! software for listening and GNU LilyPond for typesetting. The process took many days.