The MIDI transcriptions by Matsuri are always the best !
@PoyostarКүн бұрын
Man, this track is such a good fit for a ragtime cover. Mainly because it was already ragtime-y to begin with, but still. Nice work!
@rowanbelt3612Күн бұрын
Hello sir, may I use your audio in a video of mine?
@yukimatsuri4 сағат бұрын
Yes. Thanks!
@GregoryWhite-dc1tw4 күн бұрын
Just gorgeous...this is one of my favourite songs and of course it's by Gershwin!
@jamesobriant4 күн бұрын
About 50% too fast. Slow down! Let the phrases breathe!
@CaptainDijon701915 күн бұрын
I came thinking this wouldnt exist but i am pleasantly surprised and will tell everyone i know
@lilypondlane22 күн бұрын
This brought a big smile to my face! What energy, rhythm and harmony! Wonderful performance!
@armageddon743226 күн бұрын
sheets?
@armageddon743227 күн бұрын
great job with the 13/8 segment
@h.cavidarabac385227 күн бұрын
Wow. It looks like a whole new game. I would have loved this version much more, when I was a kid. Greetings from Turkiye
@chihuahua8613Ай бұрын
貴方の演奏を聞くと私は全ての思考がなくなる。
@IBoughtItMyselfАй бұрын
Hell of a lot of work on that transcript. Thanks.
@GLepRagtimeChronicleАй бұрын
Charles Cooke, also known as 'Doc Cook' was co-composer on this one.
@galo683Ай бұрын
Nunca lo pude terminar pero como me entretenía
@marcoexplain1242 ай бұрын
The underworld
@andrewbarrett15372 ай бұрын
In case anyone hearing many of his piano rolls (or his audio recordings) is wondering how ANYONE could play piano like this... well... cocaine is a helluva drug 😉
@andrewbarrett15372 ай бұрын
Thanks for doing the hard work of transcribing this! The QRS arranger (who might have been Victor Arden, Max Kortlander, or even Confrey himself) who made the roll arrangement, added in the extra 'impossible' tenor countermelody line in the middle, which sometimes becomes a tripled melody line, as typical for QRS rolls of this period (certainly a lot more tasteful way to do it than the hit-the-listener-over-the-head double tremolo heard in some COMPETITORS' rolls!). Remove this (in a playing copy) and we have what I think is a totally playable (by one person) arrangement. Although blues was a bit out of his wheelhouse, and he only bothered arranging one verse and one chorus for this (which were just mechanically copied and pasted / spliced to form this final arrangement), Confrey gives us not only his typical faux-Middle-Eastern-y harmonic minor scales and altered modes (measures 8 and 9, and again later), and triplet-hemiolas (measures 12 and 13, which is very well-harmonized BTW), but he innovates further in this roll with the really wild contrary motion ascending two-part figure at measures 19 and 20. IMO it is this figure that distinguishes this roll in terms of an actual innovation, since I am not aware of him (or anyone else) using it on any prior roll (or sheet music, for that matter!). Some of the other figures heard in this come from Bradford's original published score (which *might* have been harmonized/arranged, uncredited, by Robert Ricketts, whom Mr Bradford credits in his autobiography as having arranged many of his early scores). An example is the bass run at measure 31. The "rocking" blues bass at the beginning of the chorus did not originate with Confrey (nor Bradford; it's not in his score although he may have used it when playing live), but was used by a number of pianists in this period and slightly earlier (I don't know how far back it goes). Of course James P. Johnson laid down a modified version of this with a moving middle note (going up and back within a span of three notes) in his 1921 piano roll of "Arkansas Blues". But this roll is a bit earlier than that and a bit cruder of a figure. A similar 'rocking' figure (although written in close harmony within the interval of a sixth, rather than spread out to a tenth as here) is found in the fox-trot rag "Cradle Rock" by Abe Frankl and Phil Kornheiser, published by Feist (I think) in 1916. Phil Kornheiser was the general manager (I think) of Feist publishing house at the time so is debatable if he actually contributed any music to that piece; he may have just 'cut himself in' on the royalties, unless he did actually write a theme or suggest improvements. Abe Frankl was a professional pianist who also recorded duets with Theodore Morse a few years after this. No doubt Mr. Frankl earlier heard another pianist playing this type bass, since these blues basses are believed to mostly originate from the Black community. The walking bass figures were used earlier, by Pete Wendling and Charley Straight, but also even earlier by Eubie Blake, George W. Thomas, and such unrecorded legends as "Lost John" (from Chicago), and "William Turk" (from Baltimore). Looking at the way this arrangement is laid out and harmonized (especially the chorus), it looks like Confrey was probably heavily influenced in this arrangement by Pete Wendling (who was also an active QRS artist at this time) in this arrangement. Indeed, several years later (in 1923) when Confrey's instruction book "Modern Course in Novelty Piano Playing" came out, a number of QRS artists, including Wendling, highly endorsed it on the cover. I see some of the same 'licks' favored by Wendling, especially in the left hand, but also in the right hand. Wendling's own early influences are not as clear, especially for blues, but it is believed Perry Bradford himself must have influenced his piano style, since Bradford was writing blues choruses for Wendling to use on QRS rolls as a work-for-hire during this general time period.
@andrewbarrett15372 ай бұрын
A clear example of Wendling's influence here, or maybe the general Mike-Bernard influence (since that older pianist ALSO used this idea, and Wendling cited him as an influence), is what I term the 'pah' or 'exhale' chord, at the very end of measure 62 (here it's the G and Bb in the treble from the G minor chord; the Eb is doubled with the lower one to bring out the Alto line in the arrangement, the lower D being a notation error in the transcription). This is on the "and" of beat 4, or on beat 8 if counting in 8/8 (as I always 'feel' these type of performances, like rock music). Another much more obvious 'exhale' chord comes at the end of measure 66, this time over a D7 chord, and has C and F# intervals. The purpose of this little chord seems (to me), to be to "kick" the rhythm along, and make it a little snappier. It is really a rhythmic device rather than any kind of melodic or harmonic variation or coloration, since it is usually used with a close-harmony chord or interval and is 'punched' in a staccato way, rather than tying together any disparate melody lines or changing the existing harmony. Also, it generally is used at the end of a phrase or half-cadence, usually after a long-held melody note, and before the next actual melody note. (So maybe it might be better termed a "maintain groove" chord, although that wording is clunkier; maybe best besides "exhale" chord (since it occurs in a place where a singer would normally take a breath when singing the song), would be "paddle" chord, since it serves the same function as putting an oar in the water with a rowboat and pulling once while gliding along, to maintain speed). Many New York vaudeville pianists (who may have all been influenced by Mike Bernard) use this device, such as (besides Wendling and Confrey) also Malvin Franklin and Sol "Violinsky" Ginsberg, in their piano rolls and/or recordings. It is IMO a little more obvious and effective at fast tempos than in slow ones, although it would seem that it might be needed more in slower tempos to 'maintain groove'.
@andrewbarrett15372 ай бұрын
One more observation: Confrey's style really does shine through in places here. He loved hemiolas so much (they are all over most of his rags and also piano solos in other genres), especially the 3/8 over 4/4 hemiolas, not just in the melody (as earlier ragtime composers used them), but ALL OVER THE PLACE in any voice and at any time, ESPECIALLY used as fills when the melody is resting or holding a note. (Confrey's great textural/harmonic innovations in American popular music were usually expressed as fills and breaks rather than melodic improvisations, and that is how most other pianists used them on pop and jazz records in the early 20s). So for example, check out what he does with the bass at measures 64-65 and 68-69! (this is UNDER one of his patented harmonic minor descending figures). This reminds me of a quote from pianist Adam Carroll (brilliant pianist, Ampico artist, and later piano accompanist to numerous stars in the 1930s-50s). Mr Carroll was interviewed by Nelson Barden (and I think also Larry Givens) in the 1960s and maybe early 70s, about his career but especially as an Ampico recording artist. Carroll (who could be very dry and witty much like Oscar Levant) and knew Confrey personally, quipped that Confrey (in his opinion) "wrote everything in threes".
@EJ20EJ20EJ20EJ202 ай бұрын
昔から定期的に聴いております。感謝
@daveluttinen25472 ай бұрын
A phenomenal arrangement of this standard. Much appreciated.
@piano.k262 ай бұрын
The typical style of the American classics is bravo
This is amazing. Always loved this games OST. Well done!!!!!
@antonionoia67663 ай бұрын
Un vero capolavoro
@ChrisHauser14 ай бұрын
like the 1920ies ara
@ChrisHauser14 ай бұрын
i love this
@sa21g22g234 ай бұрын
Very beautiful music for dancing in this 2024
@user-se8qq1wo5l4 ай бұрын
아 ㅋㅋ추억 ㅋㅋ
@zigzinha14 ай бұрын
33:25 Fukkatsu Eggerland Credits
@Dylonely424 ай бұрын
1:57
@redman13944 ай бұрын
これ１００面まであったのか、当時クリアできなかったわけだ…ありがとうございました。
@user-yv1vs5mg7f4 ай бұрын
Thank you so much for the lovely performance and for the transcription! I have been looking for sheet music for this piece for quite a while. How much work and how much love you have put into transcribing it, and how generous of you to make it available to others! Thank you - ありがとう Arigatō
@KeithOtisEdwards4 ай бұрын
Your technique is far beyond what I ever achieved. You are a master.
Пікірлер
The MIDI transcriptions by Matsuri are always the best !
Man, this track is such a good fit for a ragtime cover. Mainly because it was already ragtime-y to begin with, but still. Nice work!
Hello sir, may I use your audio in a video of mine?
Yes. Thanks!
Just gorgeous...this is one of my favourite songs and of course it's by Gershwin!
About 50% too fast. Slow down! Let the phrases breathe!
I came thinking this wouldnt exist but i am pleasantly surprised and will tell everyone i know
This brought a big smile to my face! What energy, rhythm and harmony! Wonderful performance!
sheets?
great job with the 13/8 segment
Wow. It looks like a whole new game. I would have loved this version much more, when I was a kid. Greetings from Turkiye
貴方の演奏を聞くと私は全ての思考がなくなる。
Hell of a lot of work on that transcript. Thanks.
Charles Cooke, also known as 'Doc Cook' was co-composer on this one.
Nunca lo pude terminar pero como me entretenía
The underworld
In case anyone hearing many of his piano rolls (or his audio recordings) is wondering how ANYONE could play piano like this... well... cocaine is a helluva drug 😉
Thanks for doing the hard work of transcribing this! The QRS arranger (who might have been Victor Arden, Max Kortlander, or even Confrey himself) who made the roll arrangement, added in the extra 'impossible' tenor countermelody line in the middle, which sometimes becomes a tripled melody line, as typical for QRS rolls of this period (certainly a lot more tasteful way to do it than the hit-the-listener-over-the-head double tremolo heard in some COMPETITORS' rolls!). Remove this (in a playing copy) and we have what I think is a totally playable (by one person) arrangement. Although blues was a bit out of his wheelhouse, and he only bothered arranging one verse and one chorus for this (which were just mechanically copied and pasted / spliced to form this final arrangement), Confrey gives us not only his typical faux-Middle-Eastern-y harmonic minor scales and altered modes (measures 8 and 9, and again later), and triplet-hemiolas (measures 12 and 13, which is very well-harmonized BTW), but he innovates further in this roll with the really wild contrary motion ascending two-part figure at measures 19 and 20. IMO it is this figure that distinguishes this roll in terms of an actual innovation, since I am not aware of him (or anyone else) using it on any prior roll (or sheet music, for that matter!). Some of the other figures heard in this come from Bradford's original published score (which *might* have been harmonized/arranged, uncredited, by Robert Ricketts, whom Mr Bradford credits in his autobiography as having arranged many of his early scores). An example is the bass run at measure 31. The "rocking" blues bass at the beginning of the chorus did not originate with Confrey (nor Bradford; it's not in his score although he may have used it when playing live), but was used by a number of pianists in this period and slightly earlier (I don't know how far back it goes). Of course James P. Johnson laid down a modified version of this with a moving middle note (going up and back within a span of three notes) in his 1921 piano roll of "Arkansas Blues". But this roll is a bit earlier than that and a bit cruder of a figure. A similar 'rocking' figure (although written in close harmony within the interval of a sixth, rather than spread out to a tenth as here) is found in the fox-trot rag "Cradle Rock" by Abe Frankl and Phil Kornheiser, published by Feist (I think) in 1916. Phil Kornheiser was the general manager (I think) of Feist publishing house at the time so is debatable if he actually contributed any music to that piece; he may have just 'cut himself in' on the royalties, unless he did actually write a theme or suggest improvements. Abe Frankl was a professional pianist who also recorded duets with Theodore Morse a few years after this. No doubt Mr. Frankl earlier heard another pianist playing this type bass, since these blues basses are believed to mostly originate from the Black community. The walking bass figures were used earlier, by Pete Wendling and Charley Straight, but also even earlier by Eubie Blake, George W. Thomas, and such unrecorded legends as "Lost John" (from Chicago), and "William Turk" (from Baltimore). Looking at the way this arrangement is laid out and harmonized (especially the chorus), it looks like Confrey was probably heavily influenced in this arrangement by Pete Wendling (who was also an active QRS artist at this time) in this arrangement. Indeed, several years later (in 1923) when Confrey's instruction book "Modern Course in Novelty Piano Playing" came out, a number of QRS artists, including Wendling, highly endorsed it on the cover. I see some of the same 'licks' favored by Wendling, especially in the left hand, but also in the right hand. Wendling's own early influences are not as clear, especially for blues, but it is believed Perry Bradford himself must have influenced his piano style, since Bradford was writing blues choruses for Wendling to use on QRS rolls as a work-for-hire during this general time period.
A clear example of Wendling's influence here, or maybe the general Mike-Bernard influence (since that older pianist ALSO used this idea, and Wendling cited him as an influence), is what I term the 'pah' or 'exhale' chord, at the very end of measure 62 (here it's the G and Bb in the treble from the G minor chord; the Eb is doubled with the lower one to bring out the Alto line in the arrangement, the lower D being a notation error in the transcription). This is on the "and" of beat 4, or on beat 8 if counting in 8/8 (as I always 'feel' these type of performances, like rock music). Another much more obvious 'exhale' chord comes at the end of measure 66, this time over a D7 chord, and has C and F# intervals. The purpose of this little chord seems (to me), to be to "kick" the rhythm along, and make it a little snappier. It is really a rhythmic device rather than any kind of melodic or harmonic variation or coloration, since it is usually used with a close-harmony chord or interval and is 'punched' in a staccato way, rather than tying together any disparate melody lines or changing the existing harmony. Also, it generally is used at the end of a phrase or half-cadence, usually after a long-held melody note, and before the next actual melody note. (So maybe it might be better termed a "maintain groove" chord, although that wording is clunkier; maybe best besides "exhale" chord (since it occurs in a place where a singer would normally take a breath when singing the song), would be "paddle" chord, since it serves the same function as putting an oar in the water with a rowboat and pulling once while gliding along, to maintain speed). Many New York vaudeville pianists (who may have all been influenced by Mike Bernard) use this device, such as (besides Wendling and Confrey) also Malvin Franklin and Sol "Violinsky" Ginsberg, in their piano rolls and/or recordings. It is IMO a little more obvious and effective at fast tempos than in slow ones, although it would seem that it might be needed more in slower tempos to 'maintain groove'.
One more observation: Confrey's style really does shine through in places here. He loved hemiolas so much (they are all over most of his rags and also piano solos in other genres), especially the 3/8 over 4/4 hemiolas, not just in the melody (as earlier ragtime composers used them), but ALL OVER THE PLACE in any voice and at any time, ESPECIALLY used as fills when the melody is resting or holding a note. (Confrey's great textural/harmonic innovations in American popular music were usually expressed as fills and breaks rather than melodic improvisations, and that is how most other pianists used them on pop and jazz records in the early 20s). So for example, check out what he does with the bass at measures 64-65 and 68-69! (this is UNDER one of his patented harmonic minor descending figures). This reminds me of a quote from pianist Adam Carroll (brilliant pianist, Ampico artist, and later piano accompanist to numerous stars in the 1930s-50s). Mr Carroll was interviewed by Nelson Barden (and I think also Larry Givens) in the 1960s and maybe early 70s, about his career but especially as an Ampico recording artist. Carroll (who could be very dry and witty much like Oscar Levant) and knew Confrey personally, quipped that Confrey (in his opinion) "wrote everything in threes".
昔から定期的に聴いております。感謝
A phenomenal arrangement of this standard. Much appreciated.
The typical style of the American classics is bravo
I can't get past level 13
素晴らしいアレンジ！！
❤ bellisimo! Grandes recuerdos
Nice, thank you for this.
地元で石置いてく人間ボルフィードしてて置いていくとき口でブィーン言わないと自爆するルールでやってたら近隣住民から怒られた😢
3:13
3:10
This is amazing. Always loved this games OST. Well done!!!!!
Un vero capolavoro
like the 1920ies ara
i love this
Very beautiful music for dancing in this 2024
아 ㅋㅋ추억 ㅋㅋ
33:25 Fukkatsu Eggerland Credits
1:57
これ１００面まであったのか、当時クリアできなかったわけだ…ありがとうございました。
Thank you so much for the lovely performance and for the transcription! I have been looking for sheet music for this piece for quite a while. How much work and how much love you have put into transcribing it, and how generous of you to make it available to others! Thank you - ありがとう Arigatō
Your technique is far beyond what I ever achieved. You are a master.
きれいです❤
First 5 seconds are awesome!
Burn "by" Deep Purple ......
Stunning.
Underrated.
0:20
1:18
Nice.
ほんとに素晴らしいです！耳コピで弾いたのですか？私も弾きたいのですが、楽譜が見当たらず。演奏されている楽譜を入手希望です。それと、ぜひぜひ再録画・再投稿お願いしたいです。今の時代の普通のスマホでよいので、ﾕｷﾏﾂﾘさんの演奏を音を楽しみたいです。
1:01
1:27
Thank you, I appreciate your videos.
1:06