Cleopatra Rag (1915)

1 part4 pages02:436 hours ago23 views
I don't know... I don't really hear anything "Egyptian" about this piece. Maybe I've been conditioned at this point to expect Egypt-themed pieces from the 1910's to sound a certain way, but the title just doesn't seem to fit. Whatever the case, the piece is still very good, and that's all that matters.

Ragtime Nightingale (1915)

1 part4 pages03:352 days ago64 views
This is one of the few classic rags (including all those composed by Joplin and Scott) that goes anywhere near a minor key; even then, Lamb only stays in that key for the first strain before switching to major for the majority of the piece. I wonder if pieces in major keys were objectively more popular than those in minor keys, and if so, why that would be.

Contentment (1915)

1 part4 pages03:032 days ago47 views
This piece has something of a "dark backstory" behind it. It was written in honor of John Stark's (Lamb's publisher's) 50th wedding anniversary, and its original cover image accordingly depicted a couple. But before it was sent to publication, Stark's wife died. Then there was a delay in finally getting it printed; when it eventually was, the cover was changed to an old man smoking his pipe all alone.

American Beauty (1913)

1 part4 pages03:423 days ago74 views
I apologize for the delay; here's the next of Lamb's classic rags. This was the first piece he had published after Stark's move to St. Louis. In contrast to the more classical style used in his previous pieces, a distinctive "blues" influence can be heard here, especially in the final strain.
Within Reach
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Within Reach

26 parts11 pages02:506 months ago89 views
Cello(2), Recorder(3), Viola, Piccolo, Flute, Oboe, Clarinet, Bassoon, French Horn, Trumpet(2), Trombone(2), Percussion(3), Harp, Guitar, Strings(5)
I wrote this last year for an art contest at my school, as of now I'm going to nationals soon. I figured since I have pro I should reupload this, and so I made some small changes and here it is, enjoy!

Champagne Rag (1910)

1 part4 pages03:368 days ago51 views
Although written in 1909, this piece wasn't copyrighted until late 1910. The incongruity happens to coincide with Stark Music Co.'s move from New York to St. Louis; presumably the move took place just after Lamb submitted his manuscript, resulting in a delay in its publication. It would be another three years before Stark published any more of Lamb's rags, possibly because Lamb, who lived in New York near Stark's old location, may well have relied on being able to visit the offices in person with his compositions.

Excelsior Rag (1909)

1 part3 pages03:269 days ago63 views
I really wonder what it must have taken for Lamb to get a rag published in Db/Gb major. Most major publishers of the early 20th century shunned all keys with more than three sharps or flats, with very few exceptions. Whatever he did, his actions certainly paid off.

Solemnity Waltz

1 part8 pages03:169 days ago62 views
Although I don't normally compose waltzes, the slew of quality waltzes and waltz-like pieces written by @AnonymousAlchemist recently (i.e. around three weeks ago) inspired me to try my hand at creating one. While working on this piece, I experienced something that I don't normally experience: I was able to think of what I wanted to write down more quickly than I could position and engrave it properly. Whether that's a good sign or a bad sign, I can't say.

Ethiopia Rag (1909)

1 part4 pages03:429 days ago62 views
I have about as much of an idea as you as to what this piece has to do with Ethiopia... that is to say, not much. I suspect that the title may have been chosen to accomodate some stock African cover art that happened to have been lying around (a similar thing is known to have happened with the Top Liner Rag, whose original title, Cottontail Rag, was changed at the last minute because there was a stock picture of some clowns that Stark Music Co. just had to use for some reason).

Sensation (1908)

1 part3 pages02:349 days ago37 views
Seeing as I've now finished transcribing (for the time being) Cobb's many compositions, I feel I might as well tackle a composer with far fewer available works next. It took very little consideration to settle on Joseph F. Lamb, the third of the "Big Three" ragtime composers. Despite writing somewhere around fifty or more instrumental pieces over the course of his life, due to the unusual circumstances of their publication, only his twelve "classic rags" and three rather bad early pieces are currently available for transcription. I will be uploading all twelve of the rags, although I probably won't touch the three early pieces. With all that out of the way, here's the first of the twelve.

Potato-Bug Parade (1922)

1 part3 pages0310 days ago43 views
And with this, the work I've invested into transcribing Cobb's pieces finally (mostly) comes to an end. The remaining two pieces, which are both arrangements of Cobb's songs, are proving monstrously long and dull. I will upload them sometime in the future, but for now I just want to finish this endeavor, and so here is his final public domain piece for the moment. (A few new pieces, notably including a five-movement suite, will hit the public domain in around two and a half months.)

Listen To That Dixie Band/Circus Day in Dixie (1914)

1 part4 pages05:5116 days ago59 views
I discovered a copy of this medley alongside the piano arrangement of "Alabama Jubilee" I had been looking for. I don't really have any idea why Cobb and Gumble would want to create a medley like this, but they did, and so here it is.

Blacksmith Rag (1920)

1 part4 pages02:1116 days ago55 views
Before posting the final Cobb piece and capping off my endeavor to transcribe all of them, which has taken only a little more than six months to complete, I find it only fitting to upload four other pieces which were only partially by him. The first of those is this piece, the Blacksmith Rag, which was only arranged by Cobb; although composed by Harold Pinder (the identity of "Rednip"), stylistically it's right up Cobb's alley, up to and including the fact that it's a parody of the Anvil Chorus. The second and third are medleys that I managed to dig up of some of Cobb's early songs alongside songs by other composers. The fourth is a piano solo arrangement of his famous song "Alabama Jubilee." I didn't even know a piano version existed until seeing a RagtimeDorianHenry video of it, and I finally tracked down a copy at the Bagaduce Music Lending Library in Maine.

March of the Walking Dolls (1922)

1 part3 pages0317 days ago51 views
Even after ragtime fell out of fashion in the late 1910's, marches remained just as popular as they had been both before and during the ragtime era. It seems Cobb was trying to switch back over to composing marches in order for his pieces to stay profitable, and an interesting consequence of that act is that his composing style also "reverted" to favoring a more consonant and classical sound.

Love and Laughter (1922)

1 part3 pages02:3517 days ago41 views
I don't know for sure what a "pizzicato" is, but I am certain that this is one, judging by its huge numbers of rapid staccato notes. Once again, @crono23 has a transcription of this already, but I need to complete the set.

Carnival Revels (1922)

1 part3 pages03:1218 days ago51 views
Another one of Cobb's few generic "dance" pieces. I know @crono23 already has a transcription posted for this piece, but I need to do this in order to complete my Cobb set -- crono23 and I discussed the matter of repeating transcriptions some time ago and came to the same conclusion.


1 part4 pages02:3419 days ago85 views
Miramont is a Mansion with a scenic view of the Rockies (especially Pikes Peak) in Colorado.

Burglar Blues (1922)

1 part3 pages03:2719 days ago70 views
This is the final available "blues" piece composed by Cobb; in fact, with the exception of his 1925 suite "Dementia Americana," this appears to be his final "blues" piece in general. The blues fad, which had started sometime around 1915, died out within less than a decade of its onset.

Broken China (1922)

1 part3 pages03:1620 days ago44 views
We enter Cobb's final public-domain year of compositions with the last of his public-domain ethnic novelties. This one, once again, is Chinese -- the only ethnicity he ever seemed to choose more than once.