Above: A 1925 Steinway player piano, photo courtesy of Country Piano, Watkins
Glen NY.
Visit their web site
(http://www.countrypiano.com) to see some beautiful examples of restored players
and other pianos.
The Player Piano;
The Original HD Music Recordings.
For a few years we have included from time to time midi
files of made from piano rolls from the early 20th century. These files were
generously provided for our use by Terry Smythe of Canada. If any of you have
listened to them, you've no doubt been impressed by the fabulous pianistic skills
these rolls represent. In this issue, we'd like to focus on the player piano
and its place in America's popular music. During the early 20th century, the
player piano represented the pinnacle of mechanical recording and playback.
While today we have recording processes and media that come close to "live"
performance, the player piano, particularly the reproducing player, provided
a level of sound fidelity that was live performance. How much closer
to "real" can you get than an actual instrument in your parlor reproducing
the playing of the likes of Paderewski, Carrie Jacobs-Bond or Scott Joplin?
The answer of course is that you cannot. No matter how hard we try, using electronics,
digital sampling and paper cone speakers will never reach the sound quality
and realism, that the player piano brought into the home.
In the past our articles have included MIDI generated sounds that
are played on your computer. The sound quality of the music is wholly dependent
on the capabilities of your system. Some of you hear near "natural"
piano sound and others experience a more synthetic, electronic sound. Given
the fantastic nature of the sounds of a reproducing player, our sound files
included in this article will be MP3 recordings of the piano rolls in order
to provide you with the most realistic sound experience possible. The instrument
sample used is a Steinway piano so the quality should be about as good as can
be had. Of course we still will include the Scorch sheet music, some printable
so that you can see the printed music and words as the music (midi) plays. Get
ready for a real treat. We've tried to include a cross section of the styles
of music from the period from Fox-trot to Ragtime and Classical.
If you are new to us, to enjoy the full musical experience,
we recommend that you get the Scorch plug in from our friends at Sibelius software.
The Scorch player allows you to not only listen to the music but to view the
sheet music as the music plays and see the lyrics as well. Each month we also
allow printing of some of the sheet music featured so for those of you who play
the piano (or other instruments) you'll be able to play the music yourself.
It's a complete musical experience! Get the Sibelius
Scorch player now.
Richard A. Reublin, November, 2007. This article
published November, 2007 and is Copyright © 2007 by Richard A. Reublin
and The Parlor Songs Academy Text, images or music may not be reproduced
in part or in total without express written permission of the author
or a company officer.
History of the player piano:
In the late 19th century, the home piano became the single most
important musical instrument of the times. As American popular music came into
it's own and vaudeville and other stage venues spread the enjoyment, more and
more people wanted pianos in their home to enjoy the music with friends and
family.
Since there were very few other entertainment options, many people
became proficient in the piano as well as other instruments and as more pianos
were sold, more sheet music was sold. Despite that, many songs required a level
of skills that most people did not possess and so more simple arrangements were
published and the harder ones were often ignored by many.
The phonograph was still in its infancy and people yearned for
the ability to listen to music as performed by the professionals and songwriters.
The times were fertile for new ideas and a vacuum was building for a new idea.
That idea came in the form of the player piano and would alter home music reproduction
in a unique and profound way. It would also produce the most realistic music
reproduction sound in the home that has never been bested by recording techniques.
In the earliest stages of development of a self playing piano
in the 1890's there was
an
actual cabinet that was pushed up to the keyboard of a standard piano. This
item was called a piano player and consisted of a row of felt covered "fingers"
that would depress the appropriate key as a perforated roll ran across a tracker
bar. When a perforation uncovered a port in the tracker bar, suction would cause
the "finger" to be actuated. This machine was originally called a
pianola. The suction was generated by pumping foot pedals and levers on the
cabinet controlled tempo, relative loudness and the sustain pedal of the piano.
This mechanism was essentially the same that was later built into what we know
today as player pianos. Above is a pianola cabinet made by Aeolian from circa
1914. Image courtesy of Concert Pitch Piano Services and their
virtual museum at http://www.concertpitchpiano.com/
copyright retained by them.
The "pianola" mechanism was introduced as an integrated
part of a piano around the turn of the 20th century. Though this resulted in
a larger and heavier piano, it eliminated the cumbersome pianola cabinet. At
that point, the player piano became a much desired instrument for the home and
as it continued to improve sales grew and it reached its peak in the 1920's.
Player pianos continued to be manufactured well into the late 20th century.
At that point, digital player units began to take hold and the older suction
mechanical system gave way to an electrical system driven by digital storage
devices.
The biggest improvement in player pianos came with the reproducing
piano. This was a player that included devices that could reproduce the performing
nuances of a given performer. At that point, piano rolls became a true reflection
of a performers talent and the music heard was less like a straightforward performance
but more artistic and absolutely realistic. It really was like having the performer
in the house. With that advance we saw piano rolls produced by performing stars
and composers of the period. Not only were popular songs recorded by the luminaries
but classical pieces by the composer were very popular. We'll see and hear several
examples of regular player rolls and reproducing ones so you can appreciate
the difference.
The Piano Roll
The piano roll was a fairly straightforward item and from
its invention remained virtually the same up till recent times. It was
a heavy duty paper roll with
perforations
that represented the note to be struck and the duration. Original pianolas
were limited to 65 ports (keys) and later the full 88 keys of a piano
were represented. With the introduction of the reproducing player, additional
ports were added for dynamics and pedaling. Many pianola rolls often
included printed instructions for use of the levers on the front of
the keyboard so as to produce a more realistic performance. Vocal rolls
also included lyrics.
Pianola
rolls were made first from a performer playing the piece and then the
work was typically edited and a great deal of ornamentation added. That
is why some piano roll songs sound as though six pianists were at work
and seemed far too complex for one performer. Reproducing rolls were
made in a similar way but were typically not edited. They were produced
as the performer played the music. At right is a section from a Duo
Art reproducing piano roll. The perforations at each edge represent
the dynamics and pedaling instructions.
How it All Comes Together:
The following diagrams illustrate the mechanics of how a self
contained player piano works. It is both complex and simple but mostly an elegant
solution that has survived intact for well over 100 years.
Diagram of player piano mechanisms graciously
provided by Arthur Jones and North West Player Piano Association (UK). Visit
them at: http://www.nwppa.freeserve.co.uk/
And now, the music!
The music enjoyed by the home enthusiast as you will see was fantastic
and brought high fidelity music reproduction into the home music parlor. We've
selected several songs that we believe illustrate the range of performance enjoyed
through a simple roll of paper. We are providing our usual Scorch versions so
that you can see the sheet music as it plays and can listen to the music as
written in the sheet music. By comparison, you can enjoy an actual recording
of a piano roll which has been converted from a piano roll scan and then recorded
using the wav sound font of a Steinway grand. We've upgraded our Sibelius software
to the latest edition so if you have difficulties viewing these Scorch files,
download the latest version of Scorch. It will only take a few minutes but will
be well worth it.
Aggravatin'
Papa
1922
Words and Music by: Roy Turk, J. Russel Robinson and Andy Burt
Cover artist: Politzer
Aggravatin' Papa was a pure 20's jazz tune that is typical of the Jazz
age music that drove America's popular music in a new direction. Looser,
more risqué lyrics and innuendo was one hallmark of these songs
as America entered the giddy times of female liberation, sex and booze.
The piece opens with an introduction of the chorus theme and then a vamp
to the verse. The first several measures have a basso ostinato that gives
the song an urgent, almost train-like forward motion. The chorus is happy
and melodic with that 20's jazz flavor. This song was a major hit and
was first recorded by Marion Harris on Brunswick. It was later recorded
by Sophie Tucker on Okeh and Bessie Smith on Columbia.
The MP3 recording is of a standard piano roll. Note that the tempo and
dynamics are constant throughout the performance. If one wanted to adjust
tempo or some dynamics, they could do so using the levers provided on
the player pianos of the time. The tempo of this piece is very fast and
illustrates a level of skill that was probably out of the range of most
home pianists.
Hear this "cool"
jazz song (
Printable using the Scorch plug-in)
Important note: We have upgraded our Sibelius software to version
5.1. If you have difficulty viewing any of the Scorch versions in
this month's issue, check to see that you are using Scorch version 5.1.
If Scorch starts but no score loads, chances are you'll need to upgrade.
It's quick and easy at the Sibelius
Scorch download page.
Listen to the piano roll
MP3 recording
If you have difficulty playing the MP3 recordings through your browser,
there is a terrific plug-in for Microsoft Internet Explorer that is free.
It will detect MP3 files on any site and allow you to play them. To get
the player go to: the windows
marketplace and select the "MX Play Web" plug-in and download
and install it. This will be a very useful addition to your browser for
all your web surfing. If you do not want to do that you can right click
on the MP3 link and select "save target as" (or save as) and
save the file to your PC. It might be helpful if you make a separate folder
for these. Then play the recording using a player on your PC. Alternatively,
check your browser settings to allow playing of multimedia.
Lyrics
|
Under
the Double Eagle
1902
Words and Music by: J. F. Wagner
Cover artist: unknown
This piece is on one of the oldest rolls we are presenting this month.
It's production predates the reproducing piano so once again we'll hear
a uniform performance with no variation in dynamics or tempo. Under
the Double Eagle is one of America's most lasting marches and one
we still hear today performed by marching and military bands. Though the
piece has become an American favorite, it actually was written by Wagner
(Josef Franz) (1856-1908), an Austrian military bandmaster and composer
who was known as the "Austrian March King." The title is in
reference to the double eagle in the coat of arms of the Austro-Hungarian
empire. Under the Double Eagle was recorded three times by John
Philip Sousa. The piece is now the official regimental march of the 1st
Austrian Artillery Regiment Number 2.
As with many marches the piece begins with a bugle call like motif that
repeats then moves into the main melody which should be immediately recognizable
to nearly anyone. A basso marcato (the bass line carries the melody while
the upper clef provides the accompaniment) section follows the repeat
and we are carried with that to the Trio. A quieter, dolcissimo melody
provides a nice break from the boldness of the prior sections. After the
Trio repeat we are returned to the beginning of the piece and move through
the melody and basso marcato sections without repeat. The march ends after
the marcato section.
The piano roll performance has a great deal of embellishment not found in
the sheet music and makes use of octaves as is the case in many piano roll
works. It is a fairly straightforward performance till the trio then we
hear some techniques that were commonly found in piano rolls. The rapid
repetition of chords and fill material were often found in piano rolls sometimes
(as we will see later) overdone and often done in a way that is superhuman.
These refinements were often added to the production roll by editors who
would embellish the initial pianists performance in making the master.
Hear and see the
music to this favorite march (
Printable using the Scorch plug-in)
Important note: We have upgraded our Sibelius software to version
5.1. If you have difficulty viewing any of the Scorch versions in
this month's issue, check to see that you are using Scorch version 5.1.
If Scorch starts but no score loads, chances are you'll need to upgrade.
It's quick and easy at the Sibelius
Scorch download page.
listen to
the piano roll MP3 recording
(There are no lyrics for this melody)
|
Hindustan
1918
Words and Music by: Oliver Wallace and Harold Weeks
Cover artist: unknown
Now that you've heard some "straight" piano rolls, it's time
to listen to a reproducing piano roll. Hindustan started life in 1917
and it's immediate popularity as a big band number. It was first recorded
by the Joseph C. Smith Orchestra on Victor in 1918. Later recordings by
Bob Crosby in 1939 (Decca) and Alvino Rey in 1941 (Bluebird) demonstrated
the song's staying power well into the 40s and beyond.
Musically, on listening to this piece you can see why it
was and still is to an extent so popular. At the time, interest in the
middle east was becoming popular based on books and other music such as
In A Persian
Market. That interest peaked with the release of the film The Shiek
starring Rudolph Valentino in 1921. The song begins with a mysterious,
middle eastern sound which was a musical stereotype of the period and
commonly used in many similar works. That theme continues throughout the
verse. The chorus is a brighter and happier melody.
The piano roll, a QRS roll originally performed by Ted Baxter
& Max Kortlander is a four hand version and as a result has a great
deal of complexity and ornamentation to it. Though we can detect some
variation in dynamics and tempo it is not as pronounced as in many other
reproducing piano rolls.
Listen to and watch
the score (
Printable using the Scorch plug-in)
Important note: We have upgraded our Sibelius software to version
5.1. If you have difficulty viewing any of the Scorch versions in
this month's issue, check to see that you are using Scorch version 5.1.
If Scorch starts but no score loads, chances are you'll need to upgrade.
It's quick and easy at the Sibelius
Scorch download page.
Listen to the piano roll
MP3 recording
Lyrics
|
Indianola
1918
Music by: S. R. Henry and D. Onivas
Words by: Frank H. Warren
Cover artist: Starmer
The same year as Hindustan, QRS also produced a roll of this "Indian"
themed song. We've discussed songs with Indian themes in at least two
of our back issues, particularly our special feature about Native
American music. The composer names are actually pseudonyms for Henry
R. Stern and Domenico Savino.
This song was another very popular one that began as a piano solo work
in 1917. As was common, to extend popularity the composers asked Warren
to add lyrics and alacazam,. we have a song. It begins with a similarly
mysterious opening and verse. A bass line meant to imitate an Indian drum
beat adds to the "Indian" flavor. The chorus is also in a stereotypical
Indian mode. The lyrics written by Warren are a bit offensive to Native
Americans.
This is another QRS four hand production played by Pratt & Winters.
Again, we hear a complex and highly ornamented performance. It certainly
offers a striking contrast to the rather "vanilla" performance
from the sheet music as written (see the Scorch version). The four-hand
versions by QRS were fabulous examples of just how well a player piano
could reproduce a tremendous range and clusters of notes.
Hear and see the
score to this song (
Printable using the Scorch plug-in)
Important note: We have upgraded our Sibelius software to version
5.1. If you have difficulty viewing any of the Scorch versions in
this month's issue, check to see that you are using Scorch version 5.1.
If Scorch starts but no score loads, chances are you'll need to upgrade.
It's quick and easy at the Sibelius
Scorch download page.
Listen to the piano roll
MP3 recording
Lyrics
|
Our
Director
1901
Music by: F. E. Bigelow
Cover artist: Starmer
Another early song and roll featured this month is a piano solo march
that seemed to have been written with college sports in mind. The happy
cheerleader (note the megaphone) on the cover is obviously from a college,
no doubt Harvard as it looks like a large "H" on his sweater.
Lo and behold, this song became the Harvard University football song!
The song is still in the repertoire and at some stage lyrics were added:
"Hard luck for poor Eli,
Tough on the blue!
Now, all together,
Smash them and break them through.
'Gainst the line of Crimson,
They can't prevail.
Three cheers for Harvard!
And down with Yale!
Rah! Rah! Rah!
Down with Yale!"
As a March, the work is a fairly typical one. The opening is similar
to a bugle call and the first section is a bouncy and pleasant melody.
The sheet music version we have is a fairly simple arrangement. The second
theme is similar to the first. The Trio is interesting, a very military
march sound comes through immediately. Played softly except for a couple
of passages it is a nice respite which is common in the Trios of many
marches. The Trio repeats and rather than return to the first melody the
piece ends after the repeat.
The piano roll is nearly identical to the sheet music.
Cheer for old Harvard
as you listen to this piece! (
Printable using the Scorch plug-in)
Important note: We have upgraded our Sibelius software to version
5.1. If you have difficulty viewing any of the Scorch versions in
this month's issue, check to see that you are using Scorch version 5.1.
If Scorch starts but no score loads, chances are you'll need to upgrade.
It's quick and easy at the Sibelius
Scorch download page.
Listen to the piano
roll MP3 recording
Lyrics (see above)
|
Tickled
To Death
1899
Music by: Chas. Hunter
Cover artist: unknown
Of course Ragtime was an important and exciting form of American music
in the late 19th and early 20th centuries. The playing of ragtime takes
a great deal of talent and was one of the more difficult genres to master.
That made ragtime a perfect candidate for piano rolls. This piece represents
the oldest music and piano roll in this month's feature.
The cover image is cute. The three young boys seem happy and "tickled
to death" themselves so it seems to be a good cover image for the
song. As with most rags, this one has that "happy feet" sound
that makes you want to tap your toes and bounce around. The sheet music
version is pretty straightforward but the piano roll performer, a W. Arlington
added some entertaining ornamentation. The most prominent being a glissando
that regularly punctuates the melody giving a musical impression of tickling
(the ivories).
Listen to this great
rag (Scorch plug-in required)
Important note: We have upgraded our Sibelius software to version
5.1. If you have difficulty viewing any of the Scorch versions in
this month's issue, check to see that you are using Scorch version 5.1.
If Scorch starts but no score loads, chances are you'll need to upgrade.
It's quick and easy at the Sibelius
Scorch download page.
Listen to the piano roll MP3
recording
Lyrics (There are no lyrics for this
piece)
|
In
A Monastery Garden
1921
Music by: Albert W. Ketelby
Cover artist: unknown
Classical works were another popular venue for piano rolls, especially
contemporary works as this one was. It is one of Ketelby's best and is
inspiring to listen to. Played by Charles Blackmore, the piano roll is
an outstanding example of the reproducing piano's capability to play a
work with total dynamic control. This is a shining example of how the
player piano brought the performer right into your home and gave you a
very personal and "real" experience. If this is not perfect
sound reproduction, then nothing is.
Listen first to the Scorch version to get an idea of a "mechanical"
and straight performance from the sheet music as written then listen to
the MP3. However, I must say that the sheet music copy we have allows
for a very good interpretation and requires advanced skills. With this
one you'll have to be impressed at how advanced a sound reproduction system
the reproducing piano system was and still is.
Listen to this great
Ketelby tone poem (Scorch plug-in)
Important note: We have upgraded our Sibelius software to version
5.1. If you have difficulty viewing any of the Scorch versions in
this month's issue, check to see that you are using Scorch version 5.1.
If Scorch starts but no score loads, chances are you'll need to upgrade.
It's quick and easy at the Sibelius
Scorch download page.
Listen to the piano roll
MP3 recording
Lyrics (There are no lyrics for
this piece)
|
The
Jolly Blacksmiths
1905
Music by: Edmund Braham, arr. E. T. Paull
Cover artist: A. Hoen & Co.
E. T. Paull's marches were among the most popular and best selling marches
of the early 20th century march fad. We've dubbed him as America's other
march king (the original being Sousa). We've featured many of Paull's
works over the years and published a fairly comprehensive biography of
him. If you are interested in more of his music and his life you can
read our biography from July, 2001, revised October, 2005.
The march is similar to most Paull works but has a much jollier tone
to it, which I suppose is why it is titled as the Jolly Blacksmiths. It
is a little more loosely structured than most of Paull's works and not
as formulaic as most of his own compositions. Though the cover places
Paull as the primary composer, the inside reveals the truth. The reason
the work is different is that Braham was the original composer and Paull
arranged it for his publication.
The Scorch version is a rather simple arrangement for the average home
pianist, the piano roll is brilliantly played by an unknown artist and
he adds a lot more interest to the piece. E. T. Paull fans will be delighted
with this offering I'm sure.
Listen to and
watch the Jolly Blacksmiths play (Scorch plug-in)
Important note: We have upgraded our Sibelius software to version
5.1. If you have difficulty viewing any of the Scorch versions in
this month's issue, check to see that you are using Scorch version 5.1.
If Scorch starts but no score loads, chances are you'll need to upgrade.
It's quick and easy at the Sibelius
Scorch download page.
Listen to the piano roll
MP3 recording
Lyrics (There are no lyrics for
this work)
|
A
Trip To Niagara
1904
Music by: Wm. J. Cornish
Cover artist: unknown
Yet another march from the player piano heyday era was this rarely seen
work by a rarely heard of composer. It seems that for every event, time,
activity and place a march could be penned. Whether or not they really
have any attachment to the place or event is beside the point. In listening
to this piece I can't really conjure up any visual image of Niagara from
any of the musical passages so I suppose the composer was simply enamored
with the massive fall system shared by America and Canada. It is impressive.
The march however is not as impressive. It is pleasant and somewhat melodic
but not particularly memorable. There is one interesting inclusion of
a snippet of the melody from "Hail, Hail, The Gang's All Here"
which makes me wonder if the composer wrote it after a gathering of friends
on a trip to Niagara. It seems logical.
This piano roll is a great example of the embellishments that were often
added to a roll that make the performance super human. I'm not saying
that an expert could not play it as performed on the roll but there are
some passages that require many more fingers than most players might have
as well as a reach that only plastic man might be able to make.. It makes
for a very exciting and entertaining listen. The piano roll performance
transforms a rather plain march into a tour de force. The original performer
is unidentified.
Listen to and take
a musical trip to Niagara (Printable using the Scorch plug-in)
Important note: We have upgraded our Sibelius software to version
5.1. If you have difficulty viewing any of the Scorch versions in
this month's issue, check to see that you are using Scorch version 5.1.
If Scorch starts but no score loads, chances are you'll need to upgrade.
It's quick and easy at the Sibelius
Scorch download page.
Listen to the piano roll MP3
recording
Lyrics (There are no lyrics for
this work)
|
I've
Got Rings On My Fingers
1909
Music by: Maurice Scott
Words by: Weston & Barnes
Cover artist: unknown
I'm not sure that any cover image was more appropriate to a song than
this one. The photo is of Blanche Ring as performer of I've Got Rings
On My Fingers. That combination is a stroke of early music marketing.
Of course Ring was one of the superstars of the period and was a most
sought after performer and endorser of music. The song here was introduced
in the Broadway musical The Yankee Girl which premiered at the Herald
Square Theater on February 10, 1910 and closed the following April after
92 performances.
The song has a strange sub title; Mumbo, Jumbo Jijiboo J. O. Shea, which
is explained in the lyrics more or less. The song setting is in "an
Indian Isle" assumed to be India nor American Indian as the lyrics
seem to stem from a very warped view of that part of the world's vocabulary.
Despite that, as a novelty song, it was a smash hit. Interestingly, though
the sheet music cover says "introduced in The Yankee Girl,"
the song actually had its actual introduction in The Midnight Sons
in 1909. Ring also recorded the song on Victor in 1910.
The song does have a catchy tune and even when simply played from the
sheet music has a great deal of charm. This piano roll version is yet
another great example of a reproducing piano roll. The performer on this
Welte roll is unknown but he clearly demonstrates the wide range of dynamics
and tempo that a reproducing piano can play. Some of the passages are
so quiet they can barely be heard. This is another of those "being
there" experiences.
Listen to and watch
the "Rings" play (Scorch plug-in)
Important note: We have upgraded our Sibelius software to version
5.1. If you have difficulty viewing any of the Scorch versions in
this month's issue, check to see that you are using Scorch version 5.1.
If Scorch starts but no score loads, chances are you'll need to upgrade.
It's quick and easy at the Sibelius
Scorch download page.
Listen to the piano roll
MP3 recording
Lyrics
|
La
Paloma (The Dove)
1907
Music by: Vittoria Yradier
Cover artist: unknown
Over the years of American popular music, there have been a number of
popular Spanish, Mexican and South American songs that have been adopted
by us and have become a part of our own music. Among the more notables
are La Bamba (based on a traditional Mexican wedding song), La Cucaracha
and La Paloma. The song was originally written in 1863 after Yradier visited
Cuba and may possibly be based on a traditional Cuban habanera he heard
while there. Yradier died in 1865 in Spain. He never knew that his song
would become one of the world's most popular.
The melody is certainly memorable and the habanera tempo and rhythm adds
a great deal of interest to the work. It certainly has that "tango"
flair that was so popular during the early 20th century. It's actually
a quite short work, this version taking only a minute and thirty three
seconds. The piece has only two basic motifs and the ending is a repetitive
expression of the same musical idea for the last twenty measures. The
piano roll is somewhat longer, almost twice as long at 3:03.
The roll is also a fairly straightforward representation of the music
with not a lot o player piano fireworks. It is actually one of the more
mundane piano rolls I've heard. Pleasant though.
Listen to and watch
the "La Paloma" play (Printable using the Scorch plug-in)
Important note: We have upgraded our Sibelius software to version
5.1. If you have difficulty viewing any of the Scorch versions in
this month's issue, check to see that you are using Scorch version 5.1.
If Scorch starts but no score loads, chances are you'll need to upgrade.
It's quick and easy at the Sibelius
Scorch download page.
Listen to the piano roll MP3
recording
Lyrics (This item has no lyrics)
|
I'd
Love To Live In Loveland With A Girl Like You.
1910
Words and Music by: W. R. Williams
Cover artist: unknown
Jayne Boynton graces the cover of this particular edition of a long running
hit from 1910. This photo is one of the nicest and more captivating personality
photos from the times. Rather simply and tastefully dressed, Boynton gives
us a coy look with a Mona Lisa smile that is attractive. She was clearly
a beautiful star and a very popular performer of the period. We have several
other issues of this song with different performers featured but this
is my favorite.
This song was recorded numerous times over a 50 year period with perhaps
the most prominent recordings by Dennis Day on Victor and Arthur Godfrey
on Decca. This waltz song has a great deal of charm and a lovely sentiment
as well. The sheet music (Scorch) version is as with most mass publications,
fairly easy but still is a wonderful performance. The song reminds me
of many of the famous love songs of the period. There are passages that
sound as though they were borrowed from other songs, not an uncommon practice.
It has that elegant Edwardian flavor that marked so many of the songs
of the period.
The piano roll, though much more complex and ornamented, loses none of
the grace and stately elegance of this wonderful waltz. However I do think
the tempo is a little more upbeat than the song really should have given
the sentiment.
The song does have a catchy tune and even when simply played from the
sheet music has a great deal of charm. This piano roll version is yet
another great example of a reproducing piano roll. The performer on this
Welte roll is unknown but he clearly demonstrates the wide range of dynamics
and tempo that a reproducing piano can play. Some of the passages are
so quiet they can barely be heard. This is another of those "being
there" experiences.
Listen to and watch
"Loveland" play (Scorch plug-in)
Important note: We have upgraded our Sibelius software to version
5.1. If you have difficulty viewing any of the Scorch versions in
this month's issue, check to see that you are using Scorch version 5.1.
If Scorch starts but no score loads, chances are you'll need to upgrade.
It's quick and easy at the Sibelius
Scorch download page.
Listen to the piano roll MP3
recording
Lyrics
|
For
You A Rose
1917
Music by: Gus Edwards
Words by: Will D. Cobb
Cover artist: Harrison
"Rose" songs were one of the most prolific song themes during
the early Tin Pan Alley days. Actually, they were always a favorite theme
before and after TPA but seemed to flourish more openly during those times.
Undoubtedly because of the romantic significance of the rose, songwriters
love to use it as a metaphor for many things related to love. The song
was first recorded by Edna Brown on Victor 18301 the same year the song
was published.
The song from the sheet music is quite nice. A long verse takes us to
an emphatic and melodic chorus that is expressive and full of hope for
the future. The piano roll is a real winner performed by Joseph J. Fecher
on a Perfection roll. It's a standard player roll but the performer and
the editors managed to bring out the best of the music.
Listen to and see
"For You A Rose" play (Scorch plug-in)
Important note: We have upgraded our Sibelius software to version
5.1. If you have difficulty viewing any of the Scorch versions in
this month's issue, check to see that you are using Scorch version 5.1.
If Scorch starts but no score loads, chances are you'll need to upgrade.
It's quick and easy at the Sibelius
Scorch download page.
Listen to the piano roll MP3
recording
Lyrics
|
Coda:
It cannot be denied that the player piano changed the musical experience for
people around the world. In America, it offered a listening experience that
was as good as it gets. It allowed the average pianist the opportunity to hear
works by the best performers of the time in a real time, live manner. The availability
of so many songs on rolls exposed people to much more music than would have
been possible at the time and surely outperformed the early sound recordings
that existed then. The only reason that players pianos did not continue to rule
as a playback sound system was cost and space. A piano took up a lot of space
and by the 1920's phonographs became less costly and sound quality had improved
to the point where recordings represented a more cost effective way to bring
music into the home.
The player piano industry created countless jobs in all aspects of the process.
More piano builders were needed, the roll manufacturing business grew from nothing
to a huge industry in just a few years and the recording process gave countless
musicians work and the opportunity to strut their stuff. Unfortunately, as phonographs
took over the home entertainment market much of this industry dwindled away.
In my opinion, there never was nor has there since been a more perfect music
reproduction system devised. I doubt that there ever will be. Having the actual
instrument in your home playing a piece as performed by a talented professional
pianist has to be the perfect definition of "high fidelity.' Though CDs
and electronic reproduction has reached incredibly realistic levels, an electronic
circuit, microphones and vibrating paper cones can never reach 100% fidelity
or perfection in true reality of a piano. In fact, the piano is one of the most
difficult instruments to faithfully reproduce through recording.
Given that, even our recordings of these rolls lose some fidelity and can only
give you a glimpse into the incredible perfection of reproduction that a real
piano using a reproducing player mechanism can reach.
The player piano represented a major advancement in bringing music to the masses
and as such should stand as one of the greatest musical inventions in history.
This article published November, 2007 and is Copyright ©
2007 by Richard A. Reublin and The Parlor Songs Academy Text, images
or music may not be reproduced in part or in total without express written permission
of the author or an officer of the corporation. Though the songs published on
this site are often in the Public Domain, MIDI renditions are protected by copyright
as recorded performances.
Thanks for visiting us and be sure to come back again next month to see our new
feature or to read some or all of our over 130 articles about America's music.
See our resources page
for a complete bibliography of our own library resources used to research this
and other articles in our series.
If you'd like to contribute an article to us at ParlorSongs, we'd love to have
your help and contribution. The "rules"
for submissions can be found here, we'd love to have submissions by any of
our readers, anytime and would enjoy having a "reader submission" or
"favorites" feature from time to time. Heck, get involved, help us out
and write a feature for us!