RARE Sheet Music Ethiopian Mardi Gras 1899 Ragtime by Levi Black Americana

An Ethiopian Mardi Gras March and Two Step Cake Walk by Maurice Levi 1899 First Edition. For offer - a nice early piece of sheet music. Fresh from a prominent estate. Never offered on the market until now. Vintage, Old, Original, Antique, NOT a Reproduction - Guaranteed!!

First edition - I could not locate this anywhere. There is one with a red cover, but not this one. The great Cake Walk finale of the second act in The Rogers Brothers Funny Farce - The Rogers Bros in Wall Street. New York, NY : Rogers Bros, 1899.

Rip to right side edge, and small rip at left edge. Pleas e see photos for all details. You won't see this one again.

If you collect 19th century Americana music history, musicology, dance, lithography printing, African American, etc. This is a treasure you will not see again! Add this to your image or paper / ephemera collection. Ragtime also spelled rag-time or rag time[1] is a musical genre that enjoyed its peak popularity between 1895 and 1918. [2] Its cardinal trait is its syncopated, or "ragged", rhythm.

[2] The genre has its origins in African-American communities like St. Louis[3][4] years before being published as popular sheet music for piano. Ernest Hogan (18651909) was a pioneer of ragtime music and was the first to compose ragtime into sheet music.

The composition was called "LA Pas Ma LA" and it was released in 1895. Hogan has also been credited for coining the term ragtime. The term is actually derived from his hometown "Shake Rag" in Bowling Green, Kentucky. Ben Harney, who is also a Kentucky native has often been credited for introducing the music to the mainstream public. His first ragtime composition "You've been a good old wagon but you done broke" helped popularize the musical genre.

The composition was published in 1895 but released in 1896. [5][6] Ragtime was also a modification of the march made popular by John Philip Sousa, with additional polyrhythms coming from African music.

[7] The ragtime composer Scott Joplin ca. 18681917 became famous through the publication of the "Maple Leaf Rag" (1899) and a string of ragtime hits such as "The Entertainer" (1902), although he was later forgotten by all but a small, dedicated community of ragtime aficionados until the major ragtime revival in the early 1970s. [8][9] For at least 12 years after its publication, "Maple Leaf Rag" heavily influenced subsequent ragtime composers with its melody lines, harmonic progressions or metric patterns.

[10] Ragtime fell out of favor as jazz claimed the public's imagination after 1917, but there have been numerous revivals since the music has been re-discovered. First in the early 1940s, many jazz bands began to include ragtime in their repertoire and put out ragtime recordings on 78 rpm records. A more significant revival occurred in the 1950s as a wider variety of ragtime styles of the past were made available on records, and new rags were composed, published, and recorded. In 1971 Joshua Rifkin brought out a compilation of Joplin's work which was nominated for a Grammy Award. [11] In 1973 The New England Ragtime Ensemble (then a student group called The New England Conservatory Ragtime Ensemble) recorded The Red Back Book, a compilation of some of Joplin's rags in period orchestrations edited by conservatory president Gunther Schuller. This also won a Grammy for Best Chamber Music Performance of the year and was named Billboard's Top Classical Album of 1974. Subsequently, the motion picture The Sting (1973) brought ragtime to a wide audience with its soundtrack of Joplin tunes.

The film's rendering of "The Entertainer", adapted and orchestrated by Marvin Hamlisch, was a Top 5 hit in 1974. Ragtime with Joplin's work at the forefront has been cited as an American equivalent of the minuets of Mozart, the mazurkas of Chopin, or the waltzes of Brahms. [12] Ragtime also influenced classical composers including Erik Satie, Claude Debussy and Igor Stravinsky.

Historical context Ragtime originated in African American music in the late 19th century and descended from the jigs and march music played by African American bands, referred to as "jig piano" or "piano thumping". [15][16] By the start of the 20th century, it became widely popular throughout North America and was listened and danced to, performed, and written by people of many different subcultures. A distinctly American musical style, ragtime may be considered a synthesis of African syncopation and European classical music, especially the marches made popular by John Philip Sousa. Some early piano rags are entitled marches, and "jig" and "rag" were used interchangeably in the mid-1890s.

[15] Ragtime was also preceded by its close relative the cakewalk. The other composition was called La Pas Ma La which was also a hit, [17] As fellow black musician Tom Fletcher said, Hogan was the first to put on paper the kind of rhythm that was being played by non-reading musicians. "[18] While the song's success helped introduce the country to ragtime rhythms, its use of racial slurs created a number of derogatory imitation tunes, known as "coon songs because of their use of racist and stereotypical images of blacks. In Hogan's later years he admitted shame and a sense of "race betrayal" for the song while also expressing pride in helping bring ragtime to a larger audience. [19] Maple Leaf Rag Menu 0:00 Problems playing this file?

The emergence of mature ragtime is usually dated to 1897, the year in which several important early rags were published. In 1899, Scott Joplin's "Maple Leaf Rag" was published and became a great hit and demonstrated more depth and sophistication than earlier ragtime. Ragtime was one of the main influences on the early development of jazz (along with the blues).

Some artists, such as Jelly Roll Morton, were present and performed both ragtime and jazz styles during the period the two genres overlapped. He also incorporated theish Tinge in his performances, which gave a habanera or tango rhythm to his music.

[20] Jazz largely surpassed ragtime in mainstream popularity in the early 1920s, although ragtime compositions continue to be written up to the present, and periodic revivals of popular interest in ragtime occurred in the 1950s and the 1970s. The heyday of ragtime occurred before sound recording was widely available. Like classical music, and unlike jazz, classical ragtime had and has primarily a written tradition, being distributed in sheet music rather than through recordings or by imitation of live performances. Ragtime music was also distributed via piano rolls for player pianos. A folk ragtime tradition also existed before and during the period of classical ragtime (a designation largely created by Scott Joplin's publisher John Stillwell Stark), manifesting itself mostly through string bands, banjo and mandolin clubs (which experienced a burst of popularity during the early 20th century) and the like. Joseph Lamb's 1916 "The Top Liner Rag", a classic rag A form known as novelty piano (or novelty ragtime) emerged as the traditional rag was fading in popularity. Where traditional ragtime depended on amateur pianists and sheet music sales, the novelty rag took advantage of new advances in piano-roll technology and the phonograph record to permit a more complex, pyrotechnic, performance-oriented style of rag to be heard. Chief among the novelty rag composers is Zez Confrey, whose "Kitten on the Keys" popularized the style in 1921. Ragtime also served as the roots for stride piano, a more improvisational piano style popular in the 1920s and 1930s. Elements of ragtime found their way into much of the American popular music of the early 20th century. It also played a central role in the development of the musical style later referred to as Piedmont blues; indeed, much of the music played by such artists of the genre as Reverend Gary Davis, Blind Boy Fuller, Elizabeth Cotten, and Etta Baker could be referred to as ragtime guitar. [21] Although most ragtime was composed for piano, transcriptions for other instruments and ensembles are common, notably including Gunther Schuller's arrangements of Joplin's rags.

Ragtime guitar continued to be popular into the 1930s, usually in the form of songs accompanied by skilled guitar work. Numerous records emanated from several labels, performed by Blind Blake, Blind Boy Fuller, Lemon Jefferson, and others. Occasionally ragtime was scored for ensembles (particularly dance bands and brass bands) similar to those of James Reese Europe, or as songs like those written by Irving Berlin.

Joplin had long-standing ambitions of synthesizing the worlds of ragtime and opera, to which end the opera Treemonisha was written. However its first performance, poorly staged with Joplin accompanying on the piano, was "disastrous" and it was never to be fully performed again in Joplin's lifetime. [22] In fact the score was lost for decades, then rediscovered in 1970, and a fully orchestrated and staged performance took place in 1972. [23] An earlier opera by Joplin, A Guest of Honor, has been lost. [24] Musical form The first page of "The Easy Winners" by Scott Joplin, showing ragtime rhythms and syncopated melodies.

The rag was a modification of the march made popular by John Philip Sousa, with additional polyrhythms coming from African music. [7] It was usually written in 2/4 or 4/4 time with a predominant left-hand pattern of bass notes on strong beats (beats 1 and 3) and chords on weak beats (beat 2 and 4) accompanying a syncopated melody in the right hand.

According to some sources the name "ragtime" may come from the "ragged or syncopated rhythm" of the right hand. [2] A rag written in 3/4 time is a ragtime waltz. " Ragtime is not a "time (meter) in the same sense that march time is 2/4 meter and waltz time is 3/4 meter; it is rather a musical genre that uses an effect that can be applied to any meter. The defining characteristic of ragtime music is a specific type of syncopation in which melodic accents occur between metrical beats.

This results in a melody that seems to be avoiding some metrical beats of the accompaniment by emphasizing notes that either anticipate or follow the beat ("a rhythmic base of metric affirmation, and a melody of metric denial"[25]). The ultimate (and intended) effect on the listener is actually to accentuate the beat, thereby inducing the listener to move to the music. Scott Joplin, the composer/pianist known as the "King of Ragtime", called the effect weird and intoxicating.

" He also used the term "swing" in describing how to play ragtime music: "Play slowly until you catch the swing... [26] The name swing later came to be applied to an early genre of jazz that developed from ragtime. Converting a non-ragtime piece of music into ragtime by changing the time values of melody notes is known as "ragging" the piece. Original ragtime pieces usually contain several distinct themes, four being the most common number.

These themes were typically 16 bars, each theme divided into periods of four four-bar phrases and arranged in patterns of repeats and reprises. Typical patterns were AABBACCC, AABBACCDD and AABBCCA, with the first two strains in the tonic key and the following strains in the subdominant. Sometimes rags would include introductions of four bars or bridges, between themes, of anywhere between four and 24 bars. [2] Related forms and styles Shoe Tickler Rag, cover of the music sheet for a song from 1911 by Wilbur Campbell Ragtime pieces came in a number of different styles during the years of its popularity and appeared under a number of different descriptive names.

It is related to several earlier styles of music, has close ties with later styles of music, and was associated with a few musical "fads" of the period such as the foxtrot. Many of the terms associated with ragtime have inexact definitions, and are defined differently by different experts; the definitions are muddled further by the fact that publishers often labelled pieces for the fad of the moment rather than the true style of the composition.

There is even disagreement about the term "ragtime" itself; experts such as David Jasen and Trebor Tichenor choose to exclude ragtime songs from the definition but include novelty piano and stride piano (a modern perspective), while Edward A. Berlin includes ragtime songs and excludes the later styles (which is closer to how ragtime was viewed originally). The terms below should not be considered exact, but merely an attempt to pin down the general meaning of the concept. Cakewalk a pre-ragtime dance form popular until about 1904. The music is intended to be representative of an African-American dance contest in which the prize is a cake.

Many early rags are cakewalks. Characteristic march a march incorporating idiomatic touches (such as syncopation) supposedly characteristic of the race of their subject, which is usually African-Americans. Many early rags are characteristic marches. Two-step a pre-ragtime dance form popular until about 1911. A large number of rags are two-steps.

Slow drag another dance form associated with early ragtime. A modest number of rags are slow drags. Coon song a pre-ragtime vocal form popular until about 1901.

A song with crude, racist lyrics often sung by white performers in blackface. Gradually died out in favor of the ragtime song. Strongly associated with ragtime in its day, it is one of the things that gave ragtime a bad name. Ragtime song the vocal form of ragtime, more generic in theme than the coon song. Though this was the form of music most commonly considered "ragtime" in its day, many people today prefer to put it in the "popular music" category. Irving Berlin was the most commercially successful composer of ragtime songs, and his "Alexander's Ragtime Band" (1911) was the single most widely performed and recorded piece of this sort, even though it contains virtually no ragtime syncopation. Gene Greene was a famous singer in this style. Folk ragtime a name often used to describe ragtime that originated from small towns or assembled from folk strains, or at least sounded as if they did. Folk rags often have unusual chromatic features typical of composers with non-standard training. Classic rag a name used to describe the Missouri-style ragtime popularized by Scott Joplin, James Scott, and others. Fox-trot a dance fad that began in 1913. Fox-trots contain a dotted-note rhythm different from that of ragtime, but which nonetheless was incorporated into many late rags. Novelty piano a piano composition emphasizing speed and complexity, which emerged after World War I. It is almost exclusively the domain of white composers. Stride piano a style of piano that emerged after World War I, developed by and dominated by black East-coast pianists James P. Johnson, Fats Waller and Willie'The Lion' Smith. Together with novelty piano, it may be considered a successor to ragtime, but is not considered by all to be "genuine" ragtime. Johnson composed the song that is arguably most associated with the Roaring Twenties, Charleston. A recording of Johnson playing the song appears on the compact disc James P. Johnson: Harlem Stride Piano Jazz Archives No. Johnson's recorded version has a ragtime flavor. American, pre-1940, ragtime composers Scott Joplin By far the most famous ragtime composer[note 1] was Scott Joplin. Joseph Lamb and James Scott are, together, acknowledged as the three most sophisticated ragtime composers. Other leading ragtime composers include Jelly Roll Morton, Eubie Blake, Charles L.

Johnson, Tom Turpin, May Aufderheide, Mike Bernard, George Botsford, Zez Confrey, Ben Harney, Luckey Roberts, James P. Johnson, Paul Sarebresole, Joe Jordan, Fred S.

Influence on European composers This section is written like a personal reflection or opinion essay that states the Wikipedia editor's personal feelings about a topic, rather than the opinions of experts. Please help improve it by rewriting it in an encyclopedic style.

(November 2012) (Learn how and when to remove this template message) Main article: List of ragtime composers European Classical composers were influenced by the form. The first contact with ragtime was probably at the Paris Exposition in 1900, one of the stages of the European tour of John Philip Sousa. The first notable classical composer to take a serious interest in ragtime was Anton Dvoràk. [27] French composer Claude Debussy emulated ragtime in three pieces for piano. The best-known remains the Golliwog's Cake Walk (from the 1908 Piano Suite Children's Corner). James Scott's 1904 "On the Pike", which refers to the midway of the St. Louis World's Fair of 1904 Erik Satie, Arthur Honegger, Darius Milhaud and the other members of The Group of Six in Paris never made any secret of their sympathy for ragtime, which is sometimes evident in their works. Consider, in particular, the ballet of Satie, Parade (Ragtime du Paquebot), (1917) and La Mort de Monsieur Mouche, an overture for piano for a drama in three acts, composed in the early 1900s in memory of his friend J. In 1902 the American cakewalk was very popular in Paris and Satie two years later wrote two rags, La Diva de l'empire and Piccadilly.

Despite the two Anglo-Saxon settings, the tracks appear American-inspired. La Diva de l'empire, a march for piano soloist, was written for Paulette Darty and initially bore the title Stand-Walk Marche; it was later subtitled Intermezzo Americain when Rouarts-Lerolle reprinted it in 1919. Piccadilly, another march, was initially titled The Transatlantique; it presented a stereotypical wealthy American heir sailing on an ocean liner on the New YorkEurope route, going to trade his fortune for an aristocratic title in Europe. [28] There is a similar influence in Milhaud's ballets Le boeuf sur le toite and Creation du Monde, which he wrote after a trip to Harlem during his trip in 1922. Even the Swiss composer Honegger wrote works in which the influence of African American music is pretty obvious.

Examples include Pacific 231, Prélude et Blues and especially the Concertino for piano and orchestra. Igor Stravinsky wrote a solo piano work called Piano-Rag-Music in 1919 and also included a rag in his theater piece L'histoire du soldat (1918). [29] Maurice Ravel is said to have heard Jimmie Noone and his group perform in Chicago.

Despite the imprecise anecdote, Ravel's involvement with jazz is unquestionable, as it influenced many of his important works, for example the fox-trot of L'enfant et les sortilèges, the blues of the Sonata for violin and piano, Concerto in G and the Concerto for the left hand, both composed for piano in 1931. [citation needed] From the 1960s on, composers from Sweden are producing ragtime, chief among them are Peter Lundberg, Sune "Sumpen" Borg, Peter Andersson, Ragnar Hellspong, Oscar Janner, Oleg Mezjuev, Joakim Stenshäll, Kimo Viklund, and Kjell Waltman.

[citation needed] Ragtime revivals In the early 1940s, many jazz bands began to include ragtime in their repertoire, and as early as 1936 78 rpm records of Joplin's compositions were produced. [30] Old numbers written for piano were rescored for jazz instruments by jazz musicians, which gave the old style a new sound. The most famous recording of this period is Pee Wee Hunt's version of Euday L.

Bowman's Twelfth Street Rag. A more significant revival occurred in the 1950s.

A wider variety of ragtime styles of the past were made available on records, and new rags were composed, published, and recorded. Much of the ragtime recorded in this period is presented in a light-hearted novelty style, looked to with nostalgia as the product of a supposedly more innocent time. A number of popular recordings featured "prepared pianos, " playing rags on pianos with tacks on the hammers and the instrument deliberately somewhat out of tune, supposedly to simulate the sound of a piano in an old honky tonk. Three events brought forward a different kind of ragtime revival in the 1970s. First, pianist Joshua Rifkin brought out a compilation of Scott Joplin's work, Scott Joplin: Piano Rags, on Nonesuch Records, which was nominated for a Grammy Award in the "Best Classical Performance Instrumental Soloist(s) without Orchestra" category[11] in 1971.

This recording reintroduced Joplin's music to the public in the manner the composer had intended, not as a nostalgic stereotype but as serious, respectable music. Second, the New York Public Library released a two-volume set of "The Collected Works of Scott Joplin, " which renewed interest in Joplin among musicians and prompted new stagings of Joplin's opera Treemonisha. [23][31] Next came the release and Grammy Award for The New England Ragtime Ensemble's recording of Joplin's Red Back Book. Finally, with the release of the motion picture The Sting in 1973, which had a Marvin Hamlisch soundtrack of Joplin tunes originally edited by Gunther Schuller, ragtime was brought to a wide audience. Hamlisch's rendering of Joplin's 1902 rag "The Entertainer" won an Academy Award, [32] and was an American Top 40 hit in 1974, reaching #3 on 18 May.

[33] Significant ragtime composers of the mid- to late-20th century include Max Morath, William Bolcom, Trebor Tichenor, David Thomas Roberts, and Reginald Robinson. [citation needed] In 1998, an adaption of E. Doctorow's historical novel Ragtime was produced on Broadway. With music by Stephen Flaherty and lyrics by Lynn Ahrens, the show featured several rags as well as songs in other musical genres.

Many modern musicians have again begun to find ragtime and incorporate it into their musical repertoires. [citation needed] Such acts include Jay Chou, Curtains for You, Baby Gramps and Bob Milne. African Americans (also referred to as Black Americans or Afro-Americans[3]) are an ethnic group of Americans (citizens or residents of the United States) with total or partial ancestry from any of the Black racial groups of Africa. [4][5] The term may also be used to include only those individuals who are descended from enslaved Africans. [6][7] As a compound adjective the term is usually hyphenated as African-American. [8][9] Black and African Americans constitute the third largest racial and ethnic group in the United States (after White Americans and Hispanic and Latino Americans). [10] Most African Americans are of West and Central African descent and are descendants of enslaved peoples within the boundaries of the present United States.

[11][12] On average, African Americans are of 73.280.9% West African, 1824% European, and 0.80.9% Native American heritage, with large variation between individuals. [13][14][15] According to US Census Bureau data, African immigrants generally do not self-identify as African American.

The overwhelming majority of African immigrants identify instead with their own respective ethnicities (95%). [16] Immigrants from some Caribbean, Central American and South American nations and their descendants may or may not also self-identify with the term.

[9] African-American history starts in the 16th century, with peoples from West Africa forcibly taken as slaves toish America, and in the 17th century with West African slaves taken to English colonies in North America. After the founding of the United States, black people continued to be enslaved, with four million denied freedom from bondage prior to the Civil War. [17] Believed to be inferior to white people, they were treated as second-class citizens. The Naturalization Act of 1790 limited U. Citizenship to whites only, and only white men of property could vote.

[18][19] These circumstances were changed by Reconstruction, development of the black community, participation in the great military conflicts of the United States, the elimination of racial segregation, and the Civil Rights Movement which sought political and social freedom. In 2008, Barack Obama became the first African American to be elected president of the United States.

Mardi Gras (/mrdir/), also called Shrove Tuesday, [1] or Fat Tuesday, [2][3][4][5] in English, refers to events of the Carnival celebrations, beginning on or after the Christian feasts of the Epiphany (Three Kings Day) and culminating on the day before Ash Wednesday. Mardi Gras is French for "Fat Tuesday", reflecting the practice of the last night of eating richer, fatty foods before the ritual fasting of the Lenten season.

Related popular practices are associated with Shrovetide celebrations before the fasting and religious obligations associated with the penitential season of Lent. In countries such as England, Mardi Gras is also known as Shrove Tuesday, which is derived from the word shrive, meaning "confess". Sheet music is a handwritten or printed form of music notation that uses modern musical symbols to indicate the pitches (melodies) and rhythms of a song or musical piece. Like its analogs books, pamphlets, etc.

The medium of sheet music typically is paper (or, in earlier times, parchment), although the access to musical notation since the 1980s has included the presentation of musical notation on computer screens. Use of the term "sheet" is intended to differentiate written or printed music from a sound recording, radio or TV broadcast or a recorded live performance, which may capture film or video footage or the performance as well as the audio component. In everyday use, "sheet music" (or simply "music") can refer to the print publication of commercial music in conjunction with the release of a new film, TV show, record album, or other special or popular event which involves music. The first printed sheet music was made in 1473. Sheet music is the basic form in which Western classical music is notated so that it can be performed by solo singers or instrumentalists or musical ensembles.

Many forms of traditional and popular Western music are commonly learned by singers and musicians "by ear", rather than by using sheet music (although in many cases, traditional and pop music may also be available in sheet music form). Sheet music is written representation of music. This is a homorhythmic i. Hymn-style arrangement of a traditional piece entitled "Adeste Fideles", in standard two-staff format (bass staff and treble staff) for mixed voices.

About this sound Play (help·info) Tibetan musical score from the 19th century. "Score" is a common alternative (and more generic) term for sheet music, and there are several types of scores, as discussed below. Note: the term "score" can also refer to theatre music written for a play, musical, opera, ballet, television programme or film; for the last of these, see Film score. Purpose and use Sheet music can be used as a record of, a guide to, or a means to perform, a song or piece of music. Sheet music enables instrumental performers who are able to read music notation a pianist, orchestral instrument players, a jazz band, etc.

And/or singers to perform a song or piece. In classical music, authoritative musical information about a piece can be gained by studying the written sketches and early versions of compositions that the composer might have retained, as well as the final autograph score and personal markings on proofs and printed scores. Comprehending sheet music requires a special form of literacy: the ability to read music notation. An ability to read or write music is not a requirement to compose music. There have been a number of composers and songwriters who have been capable of producing music without the capacity themselves to read or write in musical notation, as long as an amanuensis of some sort is available to write down the melodies they think of.

Examples include the blind 18th-century composer John Stanley and the 20th-century songwriters Lionel Bart, Irving Berlin and Paul McCartney. As well, in traditional music styles such as the blues and folk music, there are many prolific songwriters who could not read music, and instead played and sang music "by ear". The skill of sight reading is the ability of a musician to perform an unfamiliar work of music upon viewing the sheet music for the first time. Sight reading ability is expected of professional musicians and serious amateurs who play classical music, jazz and related forms.

An even more refined skill is the ability to look at a new piece of music and hear most or all of the sounds melodies, harmonies, timbres, etc. In one's head without having to play the piece or hear it played or sung.

Skilled composers and conductors have this ability, with Beethoven being a noted historical example. Classical musicians playing orchestral works, chamber music, sonatas and singing choral works ordinarily have the sheet music in front of them on a music stand when performing (or held in front of them in a music folder, in the case of a choir), with the exception of solo instrumental performances of solo pieces or concertos or solo vocal pieces art song, opera arias, etc. In jazz, which is mostly improvised, sheet music called a lead sheet in this context is used to give basic indications of melodies, chord changes, and arrangements. Even when a jazz band has a lead sheet, chord chart or arranged music, many elements of a performance are improvised.

Handwritten or printed music is less important in other traditions of musical practice, however, such as traditional music and folk music, in which singers and instrumentalists typically learn songs "by ear" or from having a song or tune taught to them by another person. Although much popular music is published in notation of some sort, it is quite common for people to learn a song by ear. This is also the case in most forms of western folk music, where songs and dances are passed down by oral and aural tradition. Music of other cultures, both folk and classical, is often transmitted orally, though some non-Western cultures developed their own forms of musical notation and sheet music as well.

Although sheet music is often thought of as being a platform for new music and an aid to composition i. The composer "writes" the music down, it can also serve as a visual record of music that already exists. Scholars and others have made transcriptions to render Western and non-Western music in readable form for study, analysis and re-creative performance. This has been done not only with folk or traditional music e.

Bartók's volumes of Magyar and Romanian folk music, but also with sound recordings of improvisations by musicians e. Jazz piano and performances that may only partially be based on notation. An exhaustive example of the latter in recent times is the collection The Beatles: Complete Scores (London: Wise Publications, 1993), which seeks to transcribe into staves and tablature all the songs as recorded by the Beatles in instrumental and vocal detail.

Types Modern sheet music may come in different formats. If a piece is composed for just one instrument or voice (such as a piece for a solo instrument or for a cappella solo voice), the whole work may be written or printed as one piece of sheet music. If an instrumental piece is intended to be performed by more than one person, each performer will usually have a separate piece of sheet music, called a part, to play from. This is especially the case in the publication of works requiring more than four or so performers, though invariably a full score is published as well. The sung parts in a vocal work are not usually issued separately today, although this was historically the case, especially before music printing made sheet music widely available.

Sheet music can be issued as individual pieces or works (for example, a popular song or a Beethoven sonata), in collections (for example works by one or several composers), as pieces performed by a given artist, etc. When the separate instrumental and vocal parts of a musical work are printed together, the resulting sheet music is called a score.

Conventionally, a score consists of musical notation with each instrumental or vocal part in vertical alignment (meaning that concurrent events in the notation for each part are orthographically arranged). The term score has also been used to refer to sheet music written for only one performer. The distinction between score and part applies when there is more than one part needed for performance. The item "RARE Sheet Music Ethiopian Mardi Gras 1899 Ragtime by Levi Black Americana" is in sale since Monday, October 24, 2016. This item is in the category "Collectibles\Cultures & Ethnicities\Black Americana\Paper".

The seller is "dalebooks" and is located in Rochester, New York. This item can be shipped worldwide.

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